tag:blogger.com,1999:blog-46467976697473605472024-03-05T15:37:57.439-08:00John Petrenko Photography and Art BlogArts and CultureJPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.comBlogger136125tag:blogger.com,1999:blog-4646797669747360547.post-41942135078658730572010-05-10T21:47:00.000-07:002010-05-10T23:13:41.370-07:00Thursday 4 --- Altered<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMCMlRN6luCOd4BHngeMBcCy8sQ8ZTUrefaoBNjsrTE7Rn9cRLNu737Nn1vn61loxbN3q5ktMRgElTCa20wlwuHmXpKBCSFsd4z64MPAB0MezpiT_gGvCcYfdg_oncC95t7vrV0YSzWxZ4/s1600/05489a98.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMCMlRN6luCOd4BHngeMBcCy8sQ8ZTUrefaoBNjsrTE7Rn9cRLNu737Nn1vn61loxbN3q5ktMRgElTCa20wlwuHmXpKBCSFsd4z64MPAB0MezpiT_gGvCcYfdg_oncC95t7vrV0YSzWxZ4/s400/05489a98.jpg" alt="" id="BLOGGER_PHOTO_ID_5469884977592537394" border="0" /></a>Forest 70B. 2007. C-print. Kim Keever<br /></div><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHelLbx3zgepObz2durTUwNcdE6C4RPS1c7BZrgCdBDet18I6xCzgjZV_D4U2Pt1A3x-lWiJaPn4Gkyk5UwuE1iQGYyEgzkhEJi9L88MZsmp77NLMApPpeZscDn3VYkZbOhRcvhePEdXrt/s1600/f9cd3114.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 305px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHelLbx3zgepObz2durTUwNcdE6C4RPS1c7BZrgCdBDet18I6xCzgjZV_D4U2Pt1A3x-lWiJaPn4Gkyk5UwuE1iQGYyEgzkhEJi9L88MZsmp77NLMApPpeZscDn3VYkZbOhRcvhePEdXrt/s400/f9cd3114.jpg" alt="" id="BLOGGER_PHOTO_ID_5469884975191326898" border="0" /></a><br /></div><div style="text-align: center;">West 35aa, Cprint. Kim Keever<br /><br /><div style="text-align: left;">"Though not well attended, the 1975 <em>New Topographics</em> exhibition became an art world phenomenon. “Everyone knew everything about it but no one had ever seen it,” said Eastman House curator <a href="http://www.publicbroadcasting.net/wxxi/news.newsmain?action=article&ARTICLE_ID=1516809" target="_blank">Alison Nordstrom</a>. “I think it gave [photographers] permission to be more experimental. It gave people permission to be less concerned with the beautiful and more concerned with the true.” Certainly, the photographers in the show took truth seriously. Images like Frank Gohlke’s <em>Landscape, Los Angeles,</em> in which a telephone pole and a bush are the image’s motionless protagonists, or Robert Adams’s <a id="pyji" title="serial images of modest tract homes" href="http://www.pbs.org/art21/slideshow/?slide=1328&artindex=174">serial images of modest tract homes</a>, in which unassuming structures stand on otherwise rural landscapes, seemed to be precious scientific documents. Through their deference to the sprawling natural terrain, they also seemed to suggest that the land, not the man-made structures imposed on it, would eventually have the last say."<br /><br />-<a href="http://blog.art21.org/author/catherine-wagley/" title="Posts by Catherine Wagley">Catherine Wagley</a><br /><br />"This group of artists summarized a new attitude about photography with the use of ‘man-altered landscape’ as their subject. Rather than view the sublime and mythic aspects of the land, they produced landscapes that signified their scientific detachment and implied the contemporary issue of conservation. For these artists, ‘topographics’ referred to mapping and measurement, which they emphasized by focusing their cameras on the land being encroached upon by civilization."<br /><br />-Sheryl Conkleton<br /><br />bib:<br /><br />Conkleton. Sheryl. New Topographics: Photographs of a Man Altered Landscape. http://www.henryart.org/exhibitions/past/195/1998<br /><br />Wagley, Catherine. Landscape Revisited. Nov. 12th, 2009. http://blog.art21.org/2009/11/12/landscape-revisited/<br /></div></div>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com1tag:blogger.com,1999:blog-4646797669747360547.post-66119417764108754592010-05-10T20:49:00.000-07:002010-05-10T21:47:06.811-07:00Thursday 3 --- Land Art<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nwVHH0MwEw3eoigGj3vcbib9Kg_Ux5JLsAo7kFVylMwuNzKT3LEtBpZWSavG1RjGwmL6LbgOdBXKccXnDJ7LRYhQwQXoJn11yfRGQQUg7rlzS86fS1PPp-ikzUS6P_NQKTrLP6KuT6_m/s1600/land+art+kullen2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 283px; height: 378px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1nwVHH0MwEw3eoigGj3vcbib9Kg_Ux5JLsAo7kFVylMwuNzKT3LEtBpZWSavG1RjGwmL6LbgOdBXKccXnDJ7LRYhQwQXoJn11yfRGQQUg7rlzS86fS1PPp-ikzUS6P_NQKTrLP6KuT6_m/s400/land+art+kullen2.jpg" alt="" id="BLOGGER_PHOTO_ID_5469869427306051074" border="0" /></a><br /><div style="text-align: center;"><div style="text-align: left;"><span style="text-decoration: underline;"><br /><br /><br />The relocation of art is not a new phenomenon. There have always been cases of aesthetic </span><br /><span style="text-decoration: underline;">objects passing from public places to private places, from sacred spaces to worldly spaces, from </span><br /><span style="text-decoration: underline;">more dispersed settings to more concentrated settings. Art has always had a nomadic je ne sais </span><br /><span style="text-decoration: underline;">quoi. In this to and fro movement the really decisive step was taken on the threshold of the </span><br /><span style="text-decoration: underline;">nineteenth century, when art was transferred from contexts of life – churches, squares or palatial buildings – to a specialized context such as a museum or an exhibition (the “salon”). It was there that art, responding, in a way, to the need for autonomy that had begun to permeate it a hundred years before, found what might appear to be its proper home: a place that houses it for what it is, or rather for what it becomes precisely because of being housed there. The museum or the exhibition stripped the work of art of its various functions and revealed its stylistic substance, and precisely by doing so they made it become a work “of art”.2 However, neither the museum nor the salon were closed settings: art soon began to circulate in the world again, and it did so with the status that it had acquired. The monument, no longer understood as a memorial but as an aesthetic presence, or the mural, no longer seen as the book of the people but as the product of a painter’s endeavour, or the design object, no longer considered as a sign of functionality and distinction but as the triumph of a form, provide a good example of the outflow of art from the museum. Art appeared to have been strengthened by the identity and prestige that it had acquired in the meantime, yet no less determined to continue with its wanderings. </span><br /><span style="text-decoration: underline;"></span></div><span style="text-decoration: underline;"><br /></span>-Francesco Casetti<br />Elsewhere. The relocation of art<br /></div><br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivKOKJoLfT6xHColMwnBK-A-7zQS2jqZrKs8Wn7TGjEg871khjPQgawF_eRVo_E1TL69rF5aHjr9GZbLcQEfsguC02PUl67FF6nOc0FCeER28MrVEiVPzV2x7edVsE6ZHvKRcKMmpPyVtC/s1600/Snapshot+2010-05-10+23-58-26.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 133px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivKOKJoLfT6xHColMwnBK-A-7zQS2jqZrKs8Wn7TGjEg871khjPQgawF_eRVo_E1TL69rF5aHjr9GZbLcQEfsguC02PUl67FF6nOc0FCeER28MrVEiVPzV2x7edVsE6ZHvKRcKMmpPyVtC/s400/Snapshot+2010-05-10+23-58-26.jpg" alt="" id="BLOGGER_PHOTO_ID_5469857252590743138" border="0" /></a><br />-Richard B. Cathcart<br /><br /><br /><br /><div style="text-align: left;">Bib:<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4JKq23iJErrv87m45CI4yrlPrYg52IKStZJ7V2esg9bvlO_s4hz6x_aVYcDXnibcIL1MXDQAMusdQAeStumfbuqR6HCtuY2Ev2_wK8zuZ7k7Vj8WJV-cQ0NFNQiaJ6CbAbWcdQFQatDRC/s1600/Snapshot+2010-05-11+00-02-01.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px; height: 143px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4JKq23iJErrv87m45CI4yrlPrYg52IKStZJ7V2esg9bvlO_s4hz6x_aVYcDXnibcIL1MXDQAMusdQAeStumfbuqR6HCtuY2Ev2_wK8zuZ7k7Vj8WJV-cQ0NFNQiaJ6CbAbWcdQFQatDRC/s400/Snapshot+2010-05-11+00-02-01.jpg" alt="" id="BLOGGER_PHOTO_ID_5469858177322978530" border="0" /></a>Francesco Casetti. Elsewhere. The relocation of art. In Valencia09/Confines, Valencia, INVAM, 2009, pp. 348-351<br /><br /></div></div>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-21827548784825845012010-05-10T20:16:00.000-07:002010-05-10T20:49:15.615-07:00Thursday 2 --- Deconstruction or Decoration<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQG4o6d6MOFhnURC9STB3HpM8IcvA6CC07Bfwg5so7b1pLtlaVQkTtIWWPnG07k11-LbIbDQOBd2hc-BqzcvbCUuDy2JgAc3cuzNr_zYRVFZBMc68kFmqQZTHu6V1DP3-PJ6UK3BNEgd7/s1600/donald_judd.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 248px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQG4o6d6MOFhnURC9STB3HpM8IcvA6CC07Bfwg5so7b1pLtlaVQkTtIWWPnG07k11-LbIbDQOBd2hc-BqzcvbCUuDy2JgAc3cuzNr_zYRVFZBMc68kFmqQZTHu6V1DP3-PJ6UK3BNEgd7/s400/donald_judd.jpg" alt="" id="BLOGGER_PHOTO_ID_5469854299304403858" border="0" /></a><br />Donald Judd<br /></div><br /><br />"The reduction- and abstraction-based language of Constructivism was picked up by U.S. American Minimalist a la Donald Judd and Robert Morris, among others. The artistic direction also thoroughly understood itself as anti-middle class and struggled against the decorative nature of representational art. It is the decroative element that turned such art, in what was then already a fully feveloped art market, into an inexpensive product tthat quickly found home in living rooms and collections. "<br /><br />-Raimar Strange<br /><br />"Minimalism's cool aesthetic was good for conferring the impression of coolness on global business - Minimalism became "corporate design."<br /><br />-Raimar Strange<br /><br /><br />ECOlogical?: Reflections on the Relationship between Art and Environmentalism<br /><br /><i>Sharjah Biennial 8: Still Life : Art, Ecology & the Politics of Change.</i> [Sharjah, United Arab Emirates]: Sharjah Biennial, 2007. PrintJPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-71908706008500383802010-05-10T19:41:00.000-07:002010-05-10T20:16:33.491-07:00thursday 1 --- Mapping & Cartography<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsO9wQCjulCuDUgIntyvzqY6bL16AW4Q4plu-E6EbO4yV82Lqh2-n76YtgOY71GNo9pSy0ZoEs6sT9OOC49-yp-Rnnurlu6jhUlluic1Zl47X-yl9Gb_egRVg1Wr732OLQKHcdU4fuLpMn/s1600/phpThumb.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 360px; height: 270px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsO9wQCjulCuDUgIntyvzqY6bL16AW4Q4plu-E6EbO4yV82Lqh2-n76YtgOY71GNo9pSy0ZoEs6sT9OOC49-yp-Rnnurlu6jhUlluic1Zl47X-yl9Gb_egRVg1Wr732OLQKHcdU4fuLpMn/s400/phpThumb.jpg" alt="" id="BLOGGER_PHOTO_ID_5469846019864239458" border="0" /></a><br /><h3>MATT MULLICAN |City As A Map (Of Ideas)</h3></div><br />Mapping, Cartography and the Urban Sprawl.<br /><br />"Beyond the physical extension or reconstruction of urban space, the map has both recorded and determined countless aspects of human life and citizenship."<br /><br />-Denis Cosgrove<br /><br />"The destruction of those towers on September 11th, 2001 presented perhaps history's greatest single challenge to urban mapping. Maps and plans of every system affected by the attack - transporation, utilities, communications, air quality - and new maps detailing its changing impacts were vital to the response mounted by the city's myriad public and private agencies."<br /><br />-Denis Cosgrove<br /><br />Bib:<br /><br />Cosgrove, Denis. Carto-City: Mapping and Urban Space. <br /><br />Möntmann, Nina, and Yilmaz Dziewior. <i>Mapping a City</i>. Ostfildern-Ruit: Hatje Cantz, 2004. Print.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-69420270493758703862010-05-02T12:47:00.000-07:002010-05-02T14:59:17.407-07:00Six Quotes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQrMFNGdSRRyNO9mzWIwsbd0gakpIZwJjeIrcuc_fkeOG8CSX0_QN67lrAZEdqBVej_zZSyDPuqCGlBsmD24hVak9Jhl891CKel9wUeIKZrRBrbYtkNuI7brfWT6VdzTWDi5AQIlnxhFu/s1600/site_B115_navcam_180_cyl_L-B118R1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 97px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaQrMFNGdSRRyNO9mzWIwsbd0gakpIZwJjeIrcuc_fkeOG8CSX0_QN67lrAZEdqBVej_zZSyDPuqCGlBsmD24hVak9Jhl891CKel9wUeIKZrRBrbYtkNuI7brfWT6VdzTWDi5AQIlnxhFu/s400/site_B115_navcam_180_cyl_L-B118R1.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5466795630941050338" /></a><br /><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"On the relationship of modern life to nature: the pitorial and poetic moment in landscape emerges where its elements freely combine, like nature and the gradual realisation of history which it initiated. [...] The more aburptly and violently an abstract theory is forced upon that which had been realized, the more mathmatical does it process, and so in turn, the more radically does it carry out the separation of each element in single categories that fulfil a specific aim and, consequently, all the more certainly does it destroy all physiognomy, all the appeal of individual life."</span></span><div><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Ernst Rudorff, in: Preu</span></span><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">ßische Jahrbücher, Vol. 45, 1880.</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"Who can define the moods of the wild places, the meaning of nature in domains beyond those of material use? Here are the worlds of experience beyond the world of the aggressive man, beyond history, and beyond science. The moods and qualities of nature and revelations of great art are equally difficult to define we can grasp them only in the depths of perceptive spirit."</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Ansel Adams, Yosemite Valley, 1960.</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"The landscape as a limited detail of the world connotes, and continues to represent the centre of artistic interest. Therefore, what we are concerned with here has less to do with the question of limiting conditions of a regionally determined development of art than with the question as to those common themes, which determine the significance of landscape in art photography."</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Friedrich Grassegger, in the essay: "Landscape Photography from the Collection of the State Museum of Lower Austria</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="line-height: 32px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">Grassegger, Friedrich, and Fritz Simak. </span></span><span style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">Landschaft : Zwei Sammlungen : Fotografie Aus Drei Jahrhunderten = Landscape : Two Collections : Three Centuries of Photography</span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">. Wien: C. Brandstätter, 2007. Print.</span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"...global space bears the inscriptions and prescriptions of power, its effectiveness redounds upon the levels we have been discussing - the levels of architectural (monumental/building) and the urban. Where global space contrives to signify, thanks to those who inhabit it, and for them, it does so, even in the 'private' realm, only to the extent that those inhabitants accept, or have imposed upon them, what is 'public'."</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="line-height: 32px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Lefebvre, Henri, and Donald Nicholson-Smith. </span></span><span style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">The Production of Space</span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">. Malden: Blackwell, 2007. Print.</span></span></span></span></div><div><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">p. 228</span></span></span></div><div><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"The photograph is the art of putting all that aside, standing between you and the world - whereby the absence of the world is present in every detail, augmented by every detail."</span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Jean Baudrillard, The Perfect Crime, 1994.</span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;"><br /></span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"Structures help to recognizes objects. [...] structures also become archipelago for aerial photography. [...] (it) creates to the full and shows a part of the larger whole, whereas, through abstraction and through pictorial detail [...] emphasizes the structures.</span></span></span></div><div style="text-align: left;"><span class="Apple-style-span" style="font-family:'Times New Roman', Times, serif;"><span class="Apple-style-span" style="line-height: 32px;"><span class="Apple-style-span" style=" line-height: normal; font-family:Georgia, serif;"><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">-Friedrich Grassegger, in the essay: "Landscape Photography from the Collection of the State Museum of Lower Austria</span></span></span></div><div><span class="Apple-style-span" style="line-height: 19px; "><span class="Apple-style-span" style="line-height: 32px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">Grassegger, Friedrich, and Fritz Simak. </span></span><span style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">Landschaft : Zwei Sammlungen : Fotografie Aus Drei Jahrhunderten = Landscape : Two Collections : Three Centuries of Photography</span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">. Wien: C. Brandstätter, 2007. Print.</span></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="font-family:arial;">"</span></span></span></div></span></span></span></div>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-72377506905341367542010-05-01T22:39:00.000-07:002010-05-01T23:13:36.281-07:00TED Lectures<object height="326" width="446"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><param name="wmode" value="transparent"><param name="bgColor" value="#ffffff"> <param name="flashvars" value="vu=http://video.ted.com/talks/dynamic/BjarkeIngels_2009G-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/BjarkeIngels-2009G.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=634&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=bjarke_ingels_3_warp_speed_architecture_tales;year=2009;theme=design_like_you_give_a_damn;theme=architectural_inspiration;theme=the_creative_spark;theme=the_power_of_cities;event=TEDGlobal+2009;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;"><embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgcolor="#ffffff" allowfullscreen="true" allowscriptaccess="always" flashvars="vu=http://video.ted.com/talks/dynamic/BjarkeIngels_2009G-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/BjarkeIngels-2009G.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=634&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=bjarke_ingels_3_warp_speed_architecture_tales;year=2009;theme=design_like_you_give_a_damn;theme=architectural_inspiration;theme=the_creative_spark;theme=the_power_of_cities;event=TEDGlobal+2009;" height="326" width="446"></embed></object><br /><br /><br /><object width="446" height="326"><param name="movie" value="http://video.ted.com/assets/player/swf/EmbedPlayer.swf"></param><param name="allowFullScreen" value="true" /><param name="allowScriptAccess" value="always"/><param name="wmode" value="transparent"></param><param name="bgColor" value="#ffffff"></param> <param name="flashvars" value="vu=http://video.ted.com/talks/dynamic/YannArthus-Bertrand_2009-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/YannArthus-Bertrand-2009.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=561&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=yann_arthus_bertrand_captures_fragile_earth_in_wide_ang;year=2009;theme=media_that_matters;theme=inspired_by_nature;theme=speaking_at_ted2009;theme=the_creative_spark;theme=ocean_stories;theme=bold_predictions_stern_warnings;theme=not_business_as_usual;theme=art_unusual;event=TED2009;&preAdTag=tconf.ted/embed;tile=1;sz=512x288;" /><embed src="http://video.ted.com/assets/player/swf/EmbedPlayer.swf" pluginspace="http://www.macromedia.com/go/getflashplayer" type="application/x-shockwave-flash" wmode="transparent" bgColor="#ffffff" width="446" height="326" allowFullScreen="true" allowScriptAccess="always" flashvars="vu=http://video.ted.com/talks/dynamic/YannArthus-Bertrand_2009-medium.flv&su=http://images.ted.com/images/ted/tedindex/embed-posters/YannArthus-Bertrand-2009.embed_thumbnail.jpg&vw=432&vh=240&ap=0&ti=561&introDuration=16500&adDuration=4000&postAdDuration=2000&adKeys=talk=yann_arthus_bertrand_captures_fragile_earth_in_wide_ang;year=2009;theme=media_that_matters;theme=inspired_by_nature;theme=speaking_at_ted2009;theme=the_creative_spark;theme=ocean_stories;theme=bold_predictions_stern_warnings;theme=not_business_as_usual;theme=art_unusual;event=TED2009;"></embed></object>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-5986306880407768572010-05-01T22:17:00.000-07:002010-05-01T22:35:50.449-07:00Robert Voit<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDr75LK2d62138SYAu7qfoMIbMyLFyLg6DSg5WhIPxrbwVZYQmoS_c5gV5tCy8OK55E-0ctUf_lSaF3dr4xDqFOprRsu2vRBGngFsb-xb3GBb-wvkcnoYSNoY28Sqlk9n70Kl2oMppTqfq/s1600/09_robert_voit_new_trees.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 312px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDr75LK2d62138SYAu7qfoMIbMyLFyLg6DSg5WhIPxrbwVZYQmoS_c5gV5tCy8OK55E-0ctUf_lSaF3dr4xDqFOprRsu2vRBGngFsb-xb3GBb-wvkcnoYSNoY28Sqlk9n70Kl2oMppTqfq/s400/09_robert_voit_new_trees.jpg" alt="" id="BLOGGER_PHOTO_ID_5466538698528687810" border="0" /></a>Estroil, S. Pedro, Portugal, 2006, 60 x 50 c print<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhudliDxNN9sLGam2LCL5tiiHDQJ6pnh7118WVD6hjzzI5n6XyT6nKzGsF3AWyhiDP5Gj0OE_4aLtCXb9f-8QvZyVqDGDD0MdS_98vNjOQOoXC4bFQHUW4e7ZDX2YkDUkIj2_05MY0OLjVu/s1600/07_robert_voit_new_trees.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 312px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhudliDxNN9sLGam2LCL5tiiHDQJ6pnh7118WVD6hjzzI5n6XyT6nKzGsF3AWyhiDP5Gj0OE_4aLtCXb9f-8QvZyVqDGDD0MdS_98vNjOQOoXC4bFQHUW4e7ZDX2YkDUkIj2_05MY0OLjVu/s400/07_robert_voit_new_trees.jpg" alt="" id="BLOGGER_PHOTO_ID_5466538692743621522" border="0" /></a>Hundon, Haverville, Great Britain 2004, 60 x 50 c print<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUqUfFlGr30C2hZbXeD6NcL18s2NHYfBjus2EIu2afp_Cv8bp23LojMBQ_-UigNHAlolqaxksAs8chIG54O-Uz04qF6H4WIf9siHeemeerY7FkwYG0gwWq7bLSKK-1wCzpjIvlFRiLiSb0/s1600/02_robert_voit_new_trees.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 312px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUqUfFlGr30C2hZbXeD6NcL18s2NHYfBjus2EIu2afp_Cv8bp23LojMBQ_-UigNHAlolqaxksAs8chIG54O-Uz04qF6H4WIf9siHeemeerY7FkwYG0gwWq7bLSKK-1wCzpjIvlFRiLiSb0/s400/02_robert_voit_new_trees.jpg" alt="" id="BLOGGER_PHOTO_ID_5466538688555088530" border="0" /></a>Scottsdale, Arizona, USA 2006. 60 x 50 c print<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSlxmAhvcwHcUnTog9rgLUo7MOmL6mAVKbgJp8TLqI2-6cRk0LJvovoFl8ldT-flWZ258h7VqTWj_-g9uqGEc2ZWtyQfLbhgfVZnRKWT9e7XWqPGoJzsisThfKoeHGEEmYxu2Jg-cuXP1/s1600/01_robert_voit_new_trees.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 312px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCSlxmAhvcwHcUnTog9rgLUo7MOmL6mAVKbgJp8TLqI2-6cRk0LJvovoFl8ldT-flWZ258h7VqTWj_-g9uqGEc2ZWtyQfLbhgfVZnRKWT9e7XWqPGoJzsisThfKoeHGEEmYxu2Jg-cuXP1/s400/01_robert_voit_new_trees.jpg" alt="" id="BLOGGER_PHOTO_ID_5466538679302657778" border="0" /></a>Mono Lake, California, 2006. 60 x 50 c print<br /><br />What interests me in Robert Voit's photography is how he creates a typology of these monumental and totemic objects that intrude on the natural landscape throughout the world. These are cell phone towers that are created specifically for the environments that they inhabit and therefore are disguised to fit into their surroundings. Although, since they are cell towers, they completely sick out and easily spotted. It reminds me of Thomas Demand's created spaces where he purposely shows little clues that the environment is a fraud. With these objects, the people who build these keep the aesthetics of their surroundings, but you can still see that they're made of metal, have a satellite present in them, and have technology present throughout their frame. He studied at Dusseldorf and obviously continues that photography program's tradition of center weighted, typographic, and formalistic objectivity.<br /><br /><a href="http://www.amadorgallery.com/Robert_Voit.html">Gallery</a><br /><a href="http://www.robertvoit.com/bilder/serie1_new_trees/text.en.php?id=text">Statement</a><br /><a href="http://www.robertvoit.com/index.en.php">Website</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-33520289160201810162010-04-15T12:25:00.000-07:002010-04-15T13:29:55.285-07:00New Topographics<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQMPdgIMn44K3GzgR8tVgn0ZJUlknGYru25ZdGIpZz5byWlUkt6CxBjiQYDVrxG6pY9novl8nnggRXMSAwIwCRLwvTEX5BOHko79Q3vPqAZ5WYmgHTRQs5yPSIJ5YaCdoJPHzkWcf5zyg/s1600/adams-photo-006.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 395px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeQMPdgIMn44K3GzgR8tVgn0ZJUlknGYru25ZdGIpZz5byWlUkt6CxBjiQYDVrxG6pY9novl8nnggRXMSAwIwCRLwvTEX5BOHko79Q3vPqAZ5WYmgHTRQs5yPSIJ5YaCdoJPHzkWcf5zyg/s400/adams-photo-006.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5460459864937733442" /></a><br />Robert Adams. "From Lookout Mountain, at Buffalo Bill's Grave. Jefferson County, Colorado" 1970. Gelatin silver print, 11 x 14 inches.<br /><br /><br />"...in many of the photographic canvases of Robert Adams and Lewis Baltz square, instead emphasizes the domestic containment of the land. Further, landscape's traditional midline placement of the horizon for compositional balance between earth and sky is often repositioned by New Topographics photographers above or below midline, or is even absent, rendering the landscape cold and cluttered, unbalanced, or constrained rather than pristine and endless."<br /><br />-Kelly Dennis<br /><br /><br />"while New Topographics photographers appear to be of western landscapes, trees, deserts, houses, roads, and construction, they are nonetheless <span style="font-style:italic;">about</span> the aesthetic discourse of landscape photography, about "a man-made wilderness" (Ratliff, 1976, p. 86): that is, they are <span style="font-style:italic;">about</span> the American myths of the west, suburban expansion, the American Dream, and the exploitation and destruction of natural resources."<br /><br />-Kelly Dennis<br /><br />Dennis, Kelly. "Landscape and the West: Irony and Critique in New Topographic Photography." UNESCO Univsersity and Heritage 10th International Seminar (2005). Web. 7 Apr. 2010. <http://www.ncl.ac.uk/unescolandscapes>.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-45794821135494377662010-04-14T00:40:00.000-07:002010-04-14T03:06:00.617-07:00Edgar Martins<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr9JEZQ98SkvvbAGuvZK0tOh2hZOWtPNOldJqJVFOmUreRM5nqGfdwA3SZCFdqniLCNjRe-1o7cjQYMN7Q_aX-eqnijmrA-bQMNdwbt31_lqYmDcFBFawqO7O-amBOHqdvpfNmn2ypb-h1/s1600/3428.zoom.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 315px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr9JEZQ98SkvvbAGuvZK0tOh2hZOWtPNOldJqJVFOmUreRM5nqGfdwA3SZCFdqniLCNjRe-1o7cjQYMN7Q_aX-eqnijmrA-bQMNdwbt31_lqYmDcFBFawqO7O-amBOHqdvpfNmn2ypb-h1/s400/3428.zoom.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459896784355606018" /></a><br />Untitled<br />Series: The Diminishing Present<br />C-Print<br />98 x 127 cm<br />2008<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wiLNwtSTH4H_pCfmMUdA-79jgYDQiebPVFdyXcISUgqELrm87QLAOf_WgREvVfZa8bypZsib5strY4ABZCPwYpIngXjpW5-KKX_zqiRROhE6tpfp0cUT4OHE5qhVHP69zMJmmbAx0P1b/s1600/3438.large.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 334px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3wiLNwtSTH4H_pCfmMUdA-79jgYDQiebPVFdyXcISUgqELrm87QLAOf_WgREvVfZa8bypZsib5strY4ABZCPwYpIngXjpW5-KKX_zqiRROhE6tpfp0cUT4OHE5qhVHP69zMJmmbAx0P1b/s400/3438.large.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459896781769634418" /></a><br />Untitled<br />Series: The Diminishing Present<br />C-Print<br />98 x 127 cm<br />2008<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirqoq4HNVdZ3VtNH49U-Lolffh-R6guOaTmyHQD436q5jQd0tCTkfeoRju8EEXetwxFcZ5d7ahrYw4n2_keLhkAXPstwoIyT7OOnzJ0tYdIsXffJaGn1GVNBzlcyZQEPtimESE5sketbHp/s1600/3429.large.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 334px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirqoq4HNVdZ3VtNH49U-Lolffh-R6guOaTmyHQD436q5jQd0tCTkfeoRju8EEXetwxFcZ5d7ahrYw4n2_keLhkAXPstwoIyT7OOnzJ0tYdIsXffJaGn1GVNBzlcyZQEPtimESE5sketbHp/s400/3429.large.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459896776560405250" /></a><br />Untitled<br />Series: The Diminishing Present<br />C-Print<br />98 x 127 cm<br />2008<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOnQE3O7Lbzxol8McJSh9B07oBbGDRv2pnt0Pi79j9OMiF7YP53NDrxEVSaNTeCVja7nCKCPRrbxRB3Eooh0qPmoAPKlp3zeuj3DYYD558Wy8AwH5r3B-apEdFJys8Jn-B5Yzx4YAawf7/s1600/3432.large.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 334px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNOnQE3O7Lbzxol8McJSh9B07oBbGDRv2pnt0Pi79j9OMiF7YP53NDrxEVSaNTeCVja7nCKCPRrbxRB3Eooh0qPmoAPKlp3zeuj3DYYD558Wy8AwH5r3B-apEdFJys8Jn-B5Yzx4YAawf7/s400/3432.large.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459896770434945026" /></a><br />Untitled<br />Series: The Diminishing Present<br />C-Print<br />98 x 127 cm<br />2008<br /><br /><br />Edgar Martins "Topologies" is a very interesting body of work where he seems to explore the globe in seek of terrestrial descriptions that related to one another. I chose to focus on him because of the epic landscapes that he photographs, pristine, crisp, and clean. His work is very formal and very minimal (in a landscape sorta way) something that i admire in the work. I feel that this relates to my work very well, since I focus on the land and its markers and subtle (or obvious) descriptions and want to represented it similarly. Much of his work is small apertures and long exposures, a method that i have been using all along. He is from Portugal.<br /><br /><br />Quotes:<br /><a href="http://www.davidsongalleries.com/subjects/digital/convergent.php"><br />artists share a common interest in the exploration and observation of our culture's various contemporary topologies, including our expanding urban landscape, the rapidly growing and vast global Internet, the interface of pop culture and fine art, the mapping of land, and our relationship to space. They blend printmaking, drawing (by hand or on the computer), photography, and digital collage, in which images are found and electronically cut and pasted. This dialog between processes has been a vital part of art history and continues to be.</a><br /><br />-Cara Forrler (<a href="http://www.davidsongalleries.com/home.php">Davidson Galleries Director</a>)<br /><a href="http://www.coolhunting.com/archives/2008/03/edgar_martins_t.php"><br />Topologies" is Portuguese photographer Edgar Martins' first book with significant distribution taking selections from each of his major series of large-format photographs. The images, which abstain from any digital manipulation, were taken in Portugal and Iceland and focus on what may be the world's least photographic scenes: barren landscapes with no conventional subjects. Instead, he opts for cold, isolated locations. But despite the lack of people or things (the cover image is the single appearance of a human), there's an acutely unsettling notion underlying the shots that is both arresting and intrinsically beautiful.</a><br /><br />-Doug Black<br /><br /><a href="http://www.galeriagracabrandao.com/index.php?menu=obr&artista_id=61"><br />Gallery</a><br /><a href="http://www.edgarmartins.com/">Website</a><br /><a href="http://www.themorningnews.org/archives/galleries/topologies/">Interview</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-38177236764640137392010-04-11T14:19:00.000-07:002010-04-14T00:40:11.575-07:00Guy Batey<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU94PU5qcC_1CZoug_ExWh1xsznCoIynCwShA6kRCuhp3Idqnto-7amWIeDFbwID_XtozUaN99_ernm9bYrjrFtyApwcCbw5IVa75sq-JULJhYvikhm82vZ-rB2pKfX8USawDLZoarLo1A/s1600/batey06.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhU94PU5qcC_1CZoug_ExWh1xsznCoIynCwShA6kRCuhp3Idqnto-7amWIeDFbwID_XtozUaN99_ernm9bYrjrFtyApwcCbw5IVa75sq-JULJhYvikhm82vZ-rB2pKfX8USawDLZoarLo1A/s400/batey06.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459875447765096578" /></a><br />untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguGjSQGXBw7W_l9il-5A72KUTQrleRwpoKIexQTM1rWAmKZwdV7v1vm8FcxaeDdPndV9m7L4FvOxo-wRq2DYykU84Dh94IvZbPALIk_u3ZfJifzdd8bws8sBWRThCKAFpPIGzrhZ05WM4Q/s1600/batey03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguGjSQGXBw7W_l9il-5A72KUTQrleRwpoKIexQTM1rWAmKZwdV7v1vm8FcxaeDdPndV9m7L4FvOxo-wRq2DYykU84Dh94IvZbPALIk_u3ZfJifzdd8bws8sBWRThCKAFpPIGzrhZ05WM4Q/s400/batey03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459875438191282274" /></a><br />untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qsCvPUwUEuQS_lQTrE9_7kd12q1CcWdDFS7KwKwq2XaDfDKjtKdyIgO5EUu5LSizo7Bbkw7iVbiHz-oF2VGe-zbHsCmUmV1GBey_gb1qfCHt-i35NCJcaCytLmwet9mtv_rGyBPmNfWm/s1600/batey02.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5qsCvPUwUEuQS_lQTrE9_7kd12q1CcWdDFS7KwKwq2XaDfDKjtKdyIgO5EUu5LSizo7Bbkw7iVbiHz-oF2VGe-zbHsCmUmV1GBey_gb1qfCHt-i35NCJcaCytLmwet9mtv_rGyBPmNfWm/s400/batey02.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459875435788569554" /></a><br />untitled, from the Melancholy of Objects series. 2008-2009. dimensions not specified.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJDAs3ah7-d0JodmG4uldw0Bk3by8eWdTdTf3R7-rK5u9oEWLQVXyZ5YwPR6SImI-zPsXXm8PYVMwnvReIv3pAzTQ_uEtd01S2XvVYtxjccA4jyb9mXSZZV-znq43K1QAgGmK717Cr_khx/s1600/batey01.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJDAs3ah7-d0JodmG4uldw0Bk3by8eWdTdTf3R7-rK5u9oEWLQVXyZ5YwPR6SImI-zPsXXm8PYVMwnvReIv3pAzTQ_uEtd01S2XvVYtxjccA4jyb9mXSZZV-znq43K1QAgGmK717Cr_khx/s400/batey01.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5459875430784620402" /></a><br />Piano, from the Melancholy of Objects series. 2008-2009. dimensions not specified.<br /><br /><br />I chose to blog about Guy Batey becuase of how he creates portraits of found objects in the land/cityscape. The composition of the photographs are very inspiring to me, since much of my work revolves around the found object, that being a bike jump/ramp, trail markers, and other scars and manipulations in the land. I have felt that many of my photographs seem to do that, centralized the object and let the landscape fall into the periphery, to create a balance within the frame and a very centralized aesthetic. <br /><br />I also like the sculptural and architectural space that is apparent in the work. These seem to be documents of abandonment, but also in a sense found sculptures. They're photographed in a centralized theme that puts the focus straight on the center object and creates spatial tensions within him images. The found nature and unaltered (from the photographers point of view) object creates a visual poetry of our space and remnants of human behavior.<br /><br /><br />Quotes:<br /><br /><a href="http://altfotonet.org/blog/2009/02/photo-of-the-week-2.html">"This is the world of the found object, and Guy's Flickr set begins with things----often trivial, humble objects--- and the way we apprehend them. This set of pictures of objects is more a phenomenological approach to things, than one that works within art history---eg., the object as an arsenal in the surrealist avant garde expressing the return of the repressed. The uncanny is present but it avoids collapsing things into fetishism or the return of the repressed desire as understood by psychoanalysis. <br /><br />These found objects are humble, common objects that have been accidentally found and not deliberately planted."</a><br /><br /><br /><a href="http://www.thiaps.com/featured_artists/2009/03/guy-batey.html">The Melancholy of Objects is a series of portraits of<br />objects I've found in Southwark, south-east London. This<br />is my neighbourhood. I've lived here for years and walk<br />these streets almost every day. The streets are full of the<br />stuff of life - discarded, lost and forgotten. Some of the<br />objects talk to me. These photographs are my reply. </a><br /><br />-Guy Batey<br /><br /><a href="http://www.guybatey.com/index.html">Website</a><br /><a href="http://toomuchchocolate.org/?p=2515">Interview</a><br />No gallery representationJPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-72702751624849138992010-04-05T08:19:00.000-07:002010-04-06T16:19:43.482-07:00Galleries<span style="font-weight:bold;">East Coast:</span><br /><br /><a href="http://www.sashawolf.com/index.html"><span style="font-style:italic;">Sasha Wolf</span></a> (NYC)<br /><br />I chose this gallery because of its emphasis on post-documentary photography, figuring that it could fit well with my work. The work represented in the gallery is diverse and it seems that they have a focus on emerging artists out of graduate school. My photography could work into that gallery since my work explores the ideas of the landscape devoid of action and people re-contextualizing the space.<br /><br />Pablo Lopez<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2RpjKN_uO9gTPTV7cUaWJIcPNeZzeOmrZO4yf5pUPP28fcp2EmWVKHhQBnvH-ISq4QK64-0ndw3tpKAP48mecAI_f4aER_qBrSZbHZpXATyJNJevHq5cs1BXdKXL6CgxPpDWkyaR4AjE/s1600/228137517-M.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 398px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjB2RpjKN_uO9gTPTV7cUaWJIcPNeZzeOmrZO4yf5pUPP28fcp2EmWVKHhQBnvH-ISq4QK64-0ndw3tpKAP48mecAI_f4aER_qBrSZbHZpXATyJNJevHq5cs1BXdKXL6CgxPpDWkyaR4AjE/s400/228137517-M.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456673633660459938" /></a><br /><br />statement + bio<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvODBreODrnPIu5axeFU3rFBFGXLl0cwnPPH0o2EQeRsGw_JrlEpjPseFHpk6pf5CULSFP-dk4fJuYoCXOx0CxB506HOEQ9EbxLE-05lYx8OZ5lTMMRV-KGZxD55S3C5cL3L345BDmy6BL/s1600/Exhibition_Pablo_00_txt.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 214px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvODBreODrnPIu5axeFU3rFBFGXLl0cwnPPH0o2EQeRsGw_JrlEpjPseFHpk6pf5CULSFP-dk4fJuYoCXOx0CxB506HOEQ9EbxLE-05lYx8OZ5lTMMRV-KGZxD55S3C5cL3L345BDmy6BL/s400/Exhibition_Pablo_00_txt.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5456685126514339842" /></a><br /><br /><a href="http://www.guidocastagnoli.com/"><br />Guido Castagnoli</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWIVL28ZODvh5PboNAjh4lT6m4gEfBWS8fez0H64RPulaY45nfwfbjFD5XeOsA4FqQHQ1e72ShQVq5d7wKs0OP7K4v6j56vE71GYaQl1MHkhSuiXYQmX-cKhrMzyJDf3VWOzc44mmzUnY/s1600/web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 318px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWIVL28ZODvh5PboNAjh4lT6m4gEfBWS8fez0H64RPulaY45nfwfbjFD5XeOsA4FqQHQ1e72ShQVq5d7wKs0OP7K4v6j56vE71GYaQl1MHkhSuiXYQmX-cKhrMzyJDf3VWOzc44mmzUnY/s400/web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456679034534819714" /></a><br /><br />Bio:<br /><br />Guido Castagnoli was born in Turin, Italy in 1976. After receiving a degree in Advertising Graphics and Communication he began his professional career as an art director of a prominent advertising agency in Milan. His interest in photography began when he shot his first images using an old family-owned Leica. During the following years he left his position at the advertising firm to devote himself entirely to photography. His works have been exhibited in public and private institutions in U.S.A., Italy, Germany, England and Japan. Since 2001 he work as freelance photographer in advertising and editorial assignments. <br /><br />Statement:<br /><br />Provincial Japan.<br />Guido Castagnoli's photographic investigation of the urban landscape of small Japanese towns takes us far from the stereotypes associated with contemporary Japan. There is no frenzied megalopolis, no rapidly expanding techno-city. Nor are there signs of the kind of extreme minimalism often associated with Japanese culture. Instead we encounter an atmosphere of quiet and refined suspension amid the somewhat surrealistic landscape of the Shizuoka district.<br /><br />Although the settings depicted in the photographs will likely be unfamiliar to American audiences, the subjects, the focus on space and structures, and the conspicuous absence of people are reminiscent of the work of photographers like Stephen Shore, Robert Adams and others from the New Topographic movement. Provincial Japan is a series about the Japanese vernacular landscape. It is all the more noteworthy in the context of an American audience as it references America's own kitsch and vernacular culture in ways that resonate.<br /><br /><br /><a href="http://www.cohenamador.com/"><span style="font-style:italic;"><br />Amado Gallery</span></a> (NYC) <br /><a href="http://www.markpower.co.uk/"><br /><br /><br />I chose Amador Gallery becuase its aesthetics with its artists, they share a complex range of documentary and landscape and its very democratic work. Although i feel that this gallery is stretch and isn't big on emerging artists, but it seems very well represented and it seems that it could offer a lot of money.<br /><br /><br />Mark Power</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHA29Oum0-3zN4mSH-PMd3AotRmQ6oMwBf-yYpaagVa83sQCnbzrbtNk7vbDIKBJ8FA0Z2cQzE3BBQxq542PbaHs9WxghpJNmv_cAep-khTZ_f0reZWgsVM3DF9rPe4-Eh_uf2iuZpir9/s1600/MAGNUM-LON67879-2.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTHA29Oum0-3zN4mSH-PMd3AotRmQ6oMwBf-yYpaagVa83sQCnbzrbtNk7vbDIKBJ8FA0Z2cQzE3BBQxq542PbaHs9WxghpJNmv_cAep-khTZ_f0reZWgsVM3DF9rPe4-Eh_uf2iuZpir9/s400/MAGNUM-LON67879-2.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5456673933340321170" /></a><br /><br />Bio:<br /><br /><br />As a child Mark Power discovered his father's home-made enlarger in the family attic, a contraption consisting of an upturned flowerpot, a domestic light bulb and a simple camera lens. His interest in photography probably began at this moment, although he later chose illustration - specialising in life drawing and painting - instead. He (accidentally) 'became a photographer' in 1983, and worked in the editorial and charity markets for nearly ten years, before he began teaching in 1992. This coincided with a shift towards long-term, self initiated projects which now sit comfortably alongside a number of large-scale commissions in the industrial sector. <br /><br />To date Power has published four monographs: The Shipping Forecast, a poetic response to the esoteric language of daily maritime weather reports in 1996; Superstructure, a documentation of the construction of London's Millennium Dome in 2000; The Treasury Project, about the restoration of a nineteenth-century historical monument, in 2002: and 26 Different Endings (2007) which looks at those landscapes unlucky enough to fall just off the edge of the London A-Z (a map which could be said to define the boundaries of the British capital). Meanwhile, The Sound of Two Songs - Poland 2004-2008, and A-380, about the development of the worlds' largest passenger airplane, are both due to be published in 2008.<br /><br />In 2007 he tried his hand at curating. Theatres of War featured the work of five artists whose work is concerned with contemporary conflict and surveillance. It opened at the Oskar Schindler factory in Krakow, Poland in May.<br /><br />Mark Power joined Magnum Photos as a Nominee in 2002, became an Associate in 2005, and a full Member in 2007. Meanwhile, in his other life, he is Professor of photography at the University of Brighton, a city on England's south coast where he lives with his partner Jo and their children Chilli (b.1998) and Milligan (b.2002).<br /><br /><br /><a href="http://www.borisbecker.net/">Boris Becker</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevZtnzdBYg_sbXGmcvFiRtdOGGZmxbZoVS_AC92p5xVcuc9uS2tXE0yO7k_bYiJXBVidmxP3AQK_Zs-junVuCnbk7Ld2m4Gax0vdQMAon-gNHt2V0Xri4_UNNXWRyQHO7bNoKnkYDYjBa/s1600/SEREGOLAw.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 257px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgevZtnzdBYg_sbXGmcvFiRtdOGGZmxbZoVS_AC92p5xVcuc9uS2tXE0yO7k_bYiJXBVidmxP3AQK_Zs-junVuCnbk7Ld2m4Gax0vdQMAon-gNHt2V0Xri4_UNNXWRyQHO7bNoKnkYDYjBa/s400/SEREGOLAw.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456674591708283762" /></a><br /><br /><br />Statement:<br /><br />The artist Boris Becker is among the most important representatives of the German photographic scene. As a second-generation student of Bernd and Hilla Becher, he sets off with his camera in pursuit of motifs that are more structural in nature in terms of form and concentrates more on colour accents rather than reacting to the usual art historically motivated sign stimuli of urban or nature views, for example.<br />Since the mid-nineteen eighties, he has developed a wide spectrum of thematic complexes. His series of bunker photographs in which he produced an almost encyclopaedic compendium of German bunkers from the Second World War encompasses 700 images, forms the most comprehensive group. This was followed by photographs of apartment blocks and other architectonic constructions.<br />Alongside these works, Becker has also regularly taken photographs of landscapes. Becker’s most recent works include the group of photos entitled ‘Artefacts’ containing images of individual or accumulated objects as well as ‘Fakes’ with photographs of objects that were ‘faked’ to smuggle drugs, for example.<br /><br /><a href="http://www.dumont-buchverlag.de/sixcms/detail.php?template=buchdetail_en&id=5136">http://www.dumont-buchverlag.de/sixcms/detail.php?template=buchdetail_en&id=5136</a><br /><br /><span style="font-weight:bold;"><br />West Coast:</span><br /><a href="http://www.ggibsongallery.com/index.html"><br /><span style="font-style:italic;">G. Gibson Gallery<br /></span></a><span style="font-style:italic;">(Seattle)<br /><a href="http://www.lauramcphee.com/"><br /><br />I like that this gallery has a focus on the contemporary landscape and seems to offer emerging artists representation. I also like that it's not just photography too. There's a good representation of mixed media, painting, and sculpture. It's in Seattle as well, and that just seems cool and a city that takes its art seriously. <br /><br /><br />Laura McPhee</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-aSp6QsyN7NCPVou8iu9qjafDtB4RYl6KkN4Mvgmoat24TPogdRKk_PJ6mZp839rvuA8q3Q0jZ2wnIXWObMaSj-uPiwZiVaOPQgeMuy6pmgvaSZIzM00YrZkCoR-ZUzWEVSpk3-UL138/s1600/McPhee_05.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 317px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy-aSp6QsyN7NCPVou8iu9qjafDtB4RYl6KkN4Mvgmoat24TPogdRKk_PJ6mZp839rvuA8q3Q0jZ2wnIXWObMaSj-uPiwZiVaOPQgeMuy6pmgvaSZIzM00YrZkCoR-ZUzWEVSpk3-UL138/s400/McPhee_05.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456675243599686946" /></a><br /><br />Laura McPhee’s stunning large-scale color photographs juxtapose idealized images of the land against the disarming reality of life in the twenty-first century. Boston-based photographer McPhee spent more than two years in a remote area of central Idaho capturing images that address Americans’ conflicting ideas about landscape and land use and our values and beliefs about our relationship to the natural world. For McPhee, this valley in Idaho is a microcosm of America and the dilemmas that communities and people nationwide face when dealing with land issues.<br /><br />Generous support for this exhibition was provided by The Alturas Foundation, a family foundation representing four generations in the American West dedicated to visual arts and American culture. The Alturas Foundation is proud to have sponsored Laura McPhee as its initial artist-in-residence.<br /><br /><br /><a href="http://www.eirikjohnson.com/"><br />Eirik Johnson</a><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8AY7ROURuhrVcvTZ9MkiY4e6_iJjqGaaHzfu0zmuL1Mi161xbIi5pNQeMw2tec3XKekuXGhxEk2mDdf1GQx0XQcviS1wONL_rk4MY7DpBV5I-S_CNKTu3-FIFvevKSwRlcA5j1Zv27_tz/s1600/Johnson_27.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8AY7ROURuhrVcvTZ9MkiY4e6_iJjqGaaHzfu0zmuL1Mi161xbIi5pNQeMw2tec3XKekuXGhxEk2mDdf1GQx0XQcviS1wONL_rk4MY7DpBV5I-S_CNKTu3-FIFvevKSwRlcA5j1Zv27_tz/s400/Johnson_27.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456676187832434642" /></a><br /><br />Eirik Johnson is a photographer currently based in Boston, MA. His work has been exhibited at spaces including the Museum of Contemporary Photography in Chicago, the George Eastman House in Rochester, and the Aperture Foundation in New York. He has received several awards including the Santa Fe Prize in 2005 and a William J. Fulbright Grant to Peru in 1999-2000. His work is in the permanent collections of institutions including the Museum of Contemporary Photography, the National Fulbright Foundation, and the Joseph and Elaine Monsen Collection. His first monograph, BORDERLANDS, was published by Twin Palms Publishers in 2005. Eirik Johnson is represented by Yossi Milo Gallery in New York, Rena Bransten Gallery in San Francisco and G. Gibson Gallery in Seattle, WA. Johnson is an assistant professor of photography at Massachusetts College of Art. <br /><br /><a href="http://www.kochgallery.com">Robert Koch Gallery</a></span> (San Fransisco) <br /><br /><br />The Robert Koch Gallery has a huge collection of many big names in photography and represents quiet a few bigger named artists of today including Brian Ulrich ,Edward Burtynsky, Joel Meyerowitz, and Jeff Brouws. I'm aiming high with this gallery since it represents many big photographers, but once my work develops more and becomes more polished, I feel that my work could be very versatile within the gallery system. <br /><br /><br /><a href="http://www.joshualutz.com/"><br />Joshua Lutz</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PnDvtjaojfIw19H9lbyUk6XoBClNXDwXH_nn-dBb03tzqlaIcCRCdTd5JkqVhBa55u2KXRww2jufKdhQl5V4YL1EATe_5TUZOEARgn-ozeaab70zBgULu0X3ADFqJtJPRW2-XYUVTPcl/s1600/03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2PnDvtjaojfIw19H9lbyUk6XoBClNXDwXH_nn-dBb03tzqlaIcCRCdTd5JkqVhBa55u2KXRww2jufKdhQl5V4YL1EATe_5TUZOEARgn-ozeaab70zBgULu0X3ADFqJtJPRW2-XYUVTPcl/s400/03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456671825501212242" /></a><br /><br />Joshua Lutz's large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz's photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am✡Dam series, Lutz's photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay.<br /><br /><br /><a href="http://www.mikesmithphotographs.com/">Mike Smith</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfPeoI4O6hz43Pn3hT391x7TqmE4wfQXlP9J5XRBjJMBX181uFvy0v9YyyoDGyzOq-lC76sz8SBx2gDlQ0BjNFHAx9Mfw-yiRji0slsAYSM6uhmiRu02LiTuEKg_L6kR1OR_3FbH3uLNz/s1600/95-059-29.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 360px; height: 287px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnfPeoI4O6hz43Pn3hT391x7TqmE4wfQXlP9J5XRBjJMBX181uFvy0v9YyyoDGyzOq-lC76sz8SBx2gDlQ0BjNFHAx9Mfw-yiRji0slsAYSM6uhmiRu02LiTuEKg_L6kR1OR_3FbH3uLNz/s400/95-059-29.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456676791598758274" /></a><br /><br />Born 1951, Heidelberg, Germany.<br />U.S. Army. Vietnam 1970-71. Germany 1972. Rank E-5. Honorable discharge.<br />BFA, Massachusetts College of Art, Boston, MA, 1977.<br />MFA in Photography, Yale University, School of Art, New Haven, CT, 1981.<br />Professor of Photography, Department of Art and Design, East Tennessee State University, Johnson City, TN, 1981-present.<br /><br /><br /><span style="font-weight:bold;"><br />International:</span><br /><br /><a href="http://www.bau-xiphoto.com/"><span style="font-style:italic;">Bau-Xi Gallery of Contemporary Fine Art</span></a> (Toronto)<br /><br />I like that I chose an international gallery that isn't too far away. I've always had an affinity to our neighbor to the North. I've heard of many great photographers coming from Canada that seem to focus on similar issues of land use that I do. I also know that the Canadian Art Scene is doing fairly well, the Ontario School of Art and Design has a great reputation and Toronto just seems like a great place. It has a focus on emerging artists that focus on the lands around them too.<br /><br /><br /><a href="http://www.shootunit.com/">Toby Smith</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi03ZuUPwNlCtcQERq4Rdx17mIIa2yHSrUTvGc7yWFOTr1hmXiTQQukOSiQ7Xfwi0w-xi9NJ4aevgjeRvfF89Zi88W6B8bCdz_NWSzCJ342w9QgsE8FHmh8elC0u1RksBNbYFtrONkQfIUt/s1600/Toby_Smith_Immingham_from_Light_After_Dark_Ed_of_10_14217_360.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 326px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi03ZuUPwNlCtcQERq4Rdx17mIIa2yHSrUTvGc7yWFOTr1hmXiTQQukOSiQ7Xfwi0w-xi9NJ4aevgjeRvfF89Zi88W6B8bCdz_NWSzCJ342w9QgsE8FHmh8elC0u1RksBNbYFtrONkQfIUt/s400/Toby_Smith_Immingham_from_Light_After_Dark_Ed_of_10_14217_360.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456677408206819042" /></a><br /><br /><br />Toby Smith graduated from London College of Communication in 2008 with an MA in Contemporary Photography. This was after being awarded the Nikon Discovery Award in 2008 for his seminal body of work, Light After Dark. For this series, Smith has visited every Power Station in England, shooting at night using large format film and exposures lasting many hours to produce compelling imagery of something perceived as crude when looked at in the hard light of day. Smith mixes his ongoing personal projects, including access to the nuclear sector, with reportage assignments where photography can both inform and inspire audiences to advocacy relating to the subject matter. He has recently completed an undercover investigation into the illegal timber trade of Madagascar published across Europe December 2009.<br /><br />Smith has been published by The Guardian, Saturday Times, Sunday Times, Stern Magazine and other awards include silver medal at Royal Photographic Society 2008. Light After Dark was syndicated by Getty Reportage and went on to be nominated for the Prix Pictet 2009 and took 3 prizes at the PX3 awards 2009.<br /><br /><br /><a href="http://www.eamonmacmahon.com/">Eamon Mac Mahon</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQXLQifEF22BY9okHuOy4cSGSt-WuugOY5dePW2zJZLkQKzO6RLA1ZBeHMKCeg5yDtsw_3LJ9YEwOmlk01FMrYFHWzYYFooIatY8ec_k4y52DsF2ldUbxmF3M_eLsksa6d4it0XR_P9hF/s1600/Eamon_Mac_Mahon_Cut_Lines_edition_of_15_14134_360.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 321px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQXLQifEF22BY9okHuOy4cSGSt-WuugOY5dePW2zJZLkQKzO6RLA1ZBeHMKCeg5yDtsw_3LJ9YEwOmlk01FMrYFHWzYYFooIatY8ec_k4y52DsF2ldUbxmF3M_eLsksa6d4it0XR_P9hF/s400/Eamon_Mac_Mahon_Cut_Lines_edition_of_15_14134_360.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456677886353728962" /></a><br /><br /> <br />Since 2004, Toronto-based photographer Eamon Mac Mahon has spent up to three months of each year working in the wilderness of northwestern Canada and Alaska. These slow journeys via bush plane have allowed him to intimately photograph remote landlocked communities, and the vast areas of uninhabited land surrounding them. His work has appeared in various publications including the Walrus, National Geographic, W and New York Magazine, as well as exhibition spaces such as The Power Plant, The Detroit Institute of the Arts, the Griffin Museum of Photography in Boston and Higher Pictures NYC. Mac Mahon’s photographs, on display for Contact, 2008 at Pearson International Airport, were described as “magnificent and mysterious” by Kate Taylor for the Globe and Mail. Mac Mahon also spends much of his time creating video projections for stage productions, short films and documentaries.<br /><br /><br /><span style="font-weight:bold;"><br /><a href=" http://www.fotogalerie-wien.at/">Fotogallerie Wein (Austria)</a></span><br /><a href="http://www.lukasschaller.at/"><br /><br /><br /><br /><br />Lukas Schaller</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99RNJuvSkn7bdx8WF1ThWWkWbXMFQinnPHUTbi7ojBwbucl-Mv8uPYypBXndxjMBl1gTtKqjBVRnoi_wCmELyJTcJQ5kQxT3cKeG3CWNPOpS8KB-4kxu1Lq_3XynyulwdMmtE1VAVJDpb/s1600/lukas-schaller3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 314px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99RNJuvSkn7bdx8WF1ThWWkWbXMFQinnPHUTbi7ojBwbucl-Mv8uPYypBXndxjMBl1gTtKqjBVRnoi_wCmELyJTcJQ5kQxT3cKeG3CWNPOpS8KB-4kxu1Lq_3XynyulwdMmtE1VAVJDpb/s400/lukas-schaller3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456812034060066546" /></a><br /><br /><br />Bio:<br />LUKAS SCHALLER - BIOGRAPHY <br /> <br /> born 1973 in Lienz, Tyrol, Austria <br /> lives and works in Vienna, Austria <br /> <br /> 1993-1997 Media and Communication Study, University of Vienna <br /> 1998 Schule für künstlerische Fotografie (Friedl Kubelka), Vienna <br /> since 1999 Freelance Photographer <br /> <br /> Shows/Residencys <br /> <br /> 1998 Architektur aus Tirol, Photographs, Galerie Museum, Bolzano <br /> 2000 Trentino/Südtirol/Tirol, Photographs, EXPO2000, Hannover <br /> 2001 Franzjosefshöhe, Photographs, Soho in Ottakring, Vienna <br /> 2002 PhoneHome, Photographs, Soho in Ottakring, Vienna <br /> 2003 Ganz Galtür unter einem Dach, Photographs, Alpinarium Galtür, Galtür <br /> 2003 AustriaWest, Video, Architekturtriennale Mailand, Milano <br /> 2004 de luxe at belle étage, Photographs, Vienna <br /> 2005 la cité manifeste à mulhouse, Video, Photographs, aut, Innsbruck <br /> 2005 Realitäten, Photographs, Fotogalerie Wien, Vienna <br /> 2006 Debut, Galerie Fotohof, Salzburg <br /> 2006 Stadt-Landschaften/Eingriffe, Dorottya Galeria, Budapest <br /> <br /> 2004 Residency in London <br /> 2005 Residency-Award, BKA/Arts Division of the Federal Chancellery Austria, Paris<br />(Photoatelier Paris<br /><br /><br /><br />Eva Würdinger<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPcywIzP9J7ZkN_hyWQj7JqT3EYta1qZlDEA9cJ9MxfDvtj3QIG3G-iZtOsPGiBTj0MqGxv6bzlDyw1AIpa4o2P6KOEiBChdQkc_E6nXKi7HRTLOh386j730ASWG5fN3IL7O3yQjML9TC/s1600/evaw1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 397px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIPcywIzP9J7ZkN_hyWQj7JqT3EYta1qZlDEA9cJ9MxfDvtj3QIG3G-iZtOsPGiBTj0MqGxv6bzlDyw1AIpa4o2P6KOEiBChdQkc_E6nXKi7HRTLOh386j730ASWG5fN3IL7O3yQjML9TC/s400/evaw1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5456811567587786402" /></a><br /><br />Bio:<br /><br />born 1975 in Vienna, Austria.<br />lives and works in Vienna and Dunedin<br /><br />Education<br /><br />2000-2005 MFA Photography and Visual Arts, Academy of Fine Arts, Vienna - Prof. Eva Schlegel<br />1995-2002 MA Education and Science in Art, Academy of Fine Arts, Vienna<br /><br />Grants/Awards<br /><br />2009 State Scholarship for Photography by Austrian Federal Ministry for Education, the Arts and Culture<br />2005 Residency for Photography in Rome by Austrian Federal Chancellery<br />2003 Residency for Visual Arts in Budapest by Municipality ViennaJPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-70925861921144799932010-04-01T04:59:00.000-07:002010-04-01T05:41:31.695-07:00GeoCaching<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/-4VFeYZTTYs&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-4VFeYZTTYs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object><br /><br />quotes:<br /><br /><a href="http://www.psfk.com/2007/08/geocaching-for-art.html">Andrew King is wrapping three original paintings in weatherproof packaging and stashing them in different places in the Ottawa Valley. To find them, and keep them for free, you’ll need a GPS, the Internet and an ability to solve puzzles.<br /><br />On Feb. 2, the Cube Gallery is hosting an event entitled Canadiana. King will have seven pieces on display, three of which will contain clues to the GPS co-ordinates of the hidden paintings. “It will be kind of like The Da Vinci Code,” King said in an interview.</a><br /><br />- Christine Huang<br /><a href="http://digitalarts.ucsd.edu/~wild/clark/"><br />Spiritual geocaching is a project based on the idea that certain physical locations on this planet may hold spiritual significance. From Moses on the mountain top, to Jerusalem, and Mecca, many cultures have embraced the idea that certain locations may hold a spiritual value.<br /><br />The concept of this project is that certain areas in the wild are extremely calming, and in this state of relaxation a person residing at this location will become more meditative and approach the spiritual. By using a combination of biofeedback and gps data, it may be possible to locate these locations and then post them on the internet so that others may enjoy the healing properties.</a><br /><br />-Heather Clark<br />http://digitalarts.ucsd.edu/~wild/clark/<br /><br /><br />Analysis:<br /><br />Well, I stumbled upon this activity through my research of of geopolitics and spatial relationships. It really seemed odd at first. But then I thought about it, and what I am currently doing is similar with my art. In GeoCaching, people go out into the world on...basically...treasure hunts. They need to be hooked up with a GPS phone or device and also to the geocaching website to be able to find coordinates to places where people have hidden "Treasure" in waterproof boxes (it seems they're usually ammo boxes or something along those line). It's a modern day treasure hunt for the tech people. Although it seems like i have been doing the same thing with my art, except the treasure to me are these bike trails and ramps that are hidden in the state parks, local parks, forest preserves, national forest, etc. I feel that this is an odd thing to blog about on my research page, but it seems to fit in quite nicely. My work is involved in mapping and specific places in America (to some degree, I still haven't fully realized what exactly it is or how to explain it). I go into primarily remote and isolated areas that are usually devoid of, let's just say most people, and i explore the terrain and the given paths. But before i get to these places I use a map and internet tools and forums to find these places. The directions on the internet are always vague and usually not that precise, so there's an element of the hunt and the journey that revolves around my work. So i go into these trails and hike. I hike for miles with a camera and tripod on my should in search of man altered terrain. The trail markers, the ramps, the remnants of people are my treasures. Just like in geocaching, people's little treasures are there somewhere. Like i said, i too feel this is an odd entry, but i feel that it's just crazy enough that it makes sense. Or maybe I'm just sleep deprived. But it seems like there's a place where my art making and this geocaching intersect like on a map.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-57859600901507354092010-03-31T07:19:00.000-07:002010-04-01T04:58:48.137-07:00MonumentalMonumental<br /><br />Definition:<br /><br />–adjective<br />1.<br />resembling a monument; massive or imposing.<br />2.<br />exceptionally great, as in quantity, quality, extent, or degree: a monumental work.<br />3.<br />of historical or enduring significance: a monumental victory.<br />4.<br />Fine Arts. having the quality of being larger than life; of heroic scale. <br /><br /><a href="http://dictionary.reference.com/browse/monumentality">http://dictionary.reference.com/browse/monumentality</a><br /><br />Quote:<br /><br />...contrasts with the iconic power of museum architecture and with the idea of of museum building as a civic monument. Detecting a global trend towards the fragmentary and contingent in some of the strongest sculpture being made today, they are presenting work that reflects the extreme delicacy and fragility of life in the twenty-first century. It is an uncertain time, at best, with threats of ranging from religious wars and terrorism to global warming and species extinction."<br /><br />-Lisa Phillips. Toby Devan Lewis Director, New Museum of Contemporary Art.<br />From the Book "Unmonumental: The Object in the 21st Century" <br /><br /><br /><br /><span style="font-weight:bold;"><br />Nate Lowman<br /></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHSjJdZfawMuTOXSAdkHDCoyuWQi0q6dKWIgybTr2AdVKTXoGtW8wsU-zpzr91Xl4J4Kg8ush5ScxIyl-6Hghm0Iw4N_pjQWpzxwXVlSDNgnhX0WRYIREBIhyphenhyphenjYNtcGc5atnn3TaAnHov/s1600/thumbnail.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUHSjJdZfawMuTOXSAdkHDCoyuWQi0q6dKWIgybTr2AdVKTXoGtW8wsU-zpzr91Xl4J4Kg8ush5ScxIyl-6Hghm0Iw4N_pjQWpzxwXVlSDNgnhX0WRYIREBIhyphenhyphenjYNtcGc5atnn3TaAnHov/s400/thumbnail.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455043597586159906" /></a><br />The Never Ending Story, 2007. Gas pumps, gas pump side panels. 80 x 137 x 53in<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnHbOdWF9ExdRgUTJNpSsPMAuRIIqX9BCz734_j-s84YxWzUkDAz02UXsE7cicU7hyphenhyphenWPbENYMiI87kwcWEmJ5a4I_iJ2xw2O2Nz8y8WgZyjP1QiptyDPqlGhxl7Vp-rh-8jo-y0aw9kK7/s1600/secretlife_004.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 268px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQnHbOdWF9ExdRgUTJNpSsPMAuRIIqX9BCz734_j-s84YxWzUkDAz02UXsE7cicU7hyphenhyphenWPbENYMiI87kwcWEmJ5a4I_iJ2xw2O2Nz8y8WgZyjP1QiptyDPqlGhxl7Vp-rh-8jo-y0aw9kK7/s400/secretlife_004.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455043587039464418" /></a><br />Not Sorry, 2006. Bullet Resistant Glass, brushed stainless steel, stickers. 36 x 12 x 108.5in<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kuLKOE6v_x2gB8caUrIh1qO42IyBoLrOxmWxjW6FW_q6gid3Zry5D3X3CCZL6AW_siuzE3sjhrO_siBEXuCEN91FqZvuBaNfvVl9lNjHrvGQW5xLK9hFCsg2QLl7_AS4hPrGP1Pmd8wE/s1600/nate_3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 345px; height: 373px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kuLKOE6v_x2gB8caUrIh1qO42IyBoLrOxmWxjW6FW_q6gid3Zry5D3X3CCZL6AW_siuzE3sjhrO_siBEXuCEN91FqZvuBaNfvVl9lNjHrvGQW5xLK9hFCsg2QLl7_AS4hPrGP1Pmd8wE/s400/nate_3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455046687106789490" /></a><br />From Exhibition "A Dog From Every County". Unable to find dimensions and Title.<br /><br />I have chosen Nate Lowman because of his neo-appropriationist approach to installation and sculpture. It seems to blend anthropological remains in new media, street art, and American bumper stickers and critiques the new American culture. He recycles real imagery, and by real i mean objects in our society. I feel that it can relate to my art practice because when I go out and photograph these trails and parks, I tend to look at the ramps, the hand built carvings that surround the landscape, and areas of man made manipulation and create a portrait of that activity, framed in a way to balance the object and the landscape in the photograph. I appropriate the creative nature of the remnants and juxtapose them in a way to incite debate and discussion of the object in question and the natural space around it.<br /><br /><br />Review:<br /><br /><a href="http://nymag.com/arts/art/reviews/46187/">Like so many recent exhibitions (numbing swaths of the Whitney Biennial, portions of the New Museum’s “Unmonumental”) the Colen-Lowman outing resembles a disheveled rec room. The palette du jour in these shows is black-and-white, black-and-silver, monochrome, Day-Glo, or printer’s colors like magenta and cyan applied mechanically or in intentionally messy ways. Posters, gaffer’s tape, magazine pages, and found objects are placed about. Images are usually derived from newspapers, ads, or porn. Text and jokes often appear (à la Richard Prince); holes are often bashed in walls; Sheetrock and plywood are broken up and spray painted. Noland’s ideas about sculpture and Prince’s about appropriation are so prevalent that those artists ought to be drawing royalties.<br /><br />Much of this work takes visual cues from the photographs that appeared in art magazines of the sixties and seventies, translating that smudgy halftone quality to three dimensions. These artists seem to want to crawl into the skins of Gordon Matta-Clark and Robert Smithson, whose work did intrusive things to the large and familiar, and a preapproved roster from the so-called “greatest generation.” It’s a cool school based on an older cool school, and it gains attention the way a child of a celebrity does. Many artists of this stripe went to art school and have apparently internalized the beliefs of their teachers, using strategies common when those instructors were young. They’re making art in ways that their teachers thought art should be made. This is an Oedipal-aesthetic feedback loop, a death wish. Some of this art is good. Most of it already looks very dated, or will soon.</a> <br /><br />- Jerry Saltz. Published Apr 21, 2008 . New York Magazine.<br /><br /><br /><br />Aleksandra Mir<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTcOdUGO5waddbwMCNBXdu2_mMcELbkjZp6_oLlTfBh7KszwmKJPTUgJYsk4erkUj0_sqEnNc93hHD3WzMnXLeRtZaYtdwUNxunLr2KjXukP9aRn-2RGOyTMv5GI6pXW4TslC0oMaJGai/s1600/AA.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 399px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKTcOdUGO5waddbwMCNBXdu2_mMcELbkjZp6_oLlTfBh7KszwmKJPTUgJYsk4erkUj0_sqEnNc93hHD3WzMnXLeRtZaYtdwUNxunLr2KjXukP9aRn-2RGOyTMv5GI6pXW4TslC0oMaJGai/s400/AA.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455049653588326882" /></a><br />First Woman On the Moon. 2000. C-Print. 36 x 36in. On location Wijk ann Zee, Netherlands<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YY8F6hATDyzWv-MtWejfpMoF3V_uXxI21LEKxksDVG6g1oWPzMqStxqx4PcExamIlce401tokTIaR08HslxA7ecIUB5-Tse9oTDBItv2go4n7THoCEQOAttvWzGwPzVJB0kNqqmydK5X/s1600/KK.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 148px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8YY8F6hATDyzWv-MtWejfpMoF3V_uXxI21LEKxksDVG6g1oWPzMqStxqx4PcExamIlce401tokTIaR08HslxA7ecIUB5-Tse9oTDBItv2go4n7THoCEQOAttvWzGwPzVJB0kNqqmydK5X/s400/KK.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455049652138941378" /></a><br />First Woman On the Moon. 2000. Detail. On location Wijk ann Zee, Netherlands<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtDaCvHI3glUWC05bHf5iVWQV-g6PUxxC9yM0uR71Or1fKayJF21H_gBaeNgeh_CE2LeU8gyQYaGowfYm3MJsfhIEesNJAiK4xyBWIJD2f5ssjLtcHl8mk1UsjVnacJfnnzYuBpR0MWWgM/s1600/FF.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 395px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtDaCvHI3glUWC05bHf5iVWQV-g6PUxxC9yM0uR71Or1fKayJF21H_gBaeNgeh_CE2LeU8gyQYaGowfYm3MJsfhIEesNJAiK4xyBWIJD2f5ssjLtcHl8mk1UsjVnacJfnnzYuBpR0MWWgM/s400/FF.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455049646752863522" /></a><br />First Woman On the Moon. 2000. Detail. On location Wijk ann Zee, Netherlands<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUoMVqzBTj84Rx1pSL9Jvt9cuY0SWKYxm3QGCxgJQD9ESN4SqaP2rr6p0U0h6gpHm_Pf-tIdw4ZhEA6_EBL5acciyxcHjxAc3QNVLlNkSMS2aZySb1WBH3XbE7dVOk6Z2MVwUjn4y5BPL-/s1600/HH.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 147px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUoMVqzBTj84Rx1pSL9Jvt9cuY0SWKYxm3QGCxgJQD9ESN4SqaP2rr6p0U0h6gpHm_Pf-tIdw4ZhEA6_EBL5acciyxcHjxAc3QNVLlNkSMS2aZySb1WBH3XbE7dVOk6Z2MVwUjn4y5BPL-/s400/HH.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455049642923438994" /></a><br />First Woman On the Moon. 2000. Detail. On location Wijk ann Zee, Netherlands.<br /><br /><br />I chose to use Aleksandra Mir because of the monumental idea and concept that was put into action with this project. I am focusing only on this piece because it uses a few definitions of the concept of "Monumental". First, the size and scale and site of the project. Second, how she critiques and reinterprets the monumental nature of the historic event. And finally, it becomes a monument in time because it becomes part of the lost landscape and adds a historical presence to the monument. I also enjoy that it is Earth Art, my work, in a particular sense, embraces that. My photographs are of Earth art, but it's just because the sculptural implications of the objects that I photograph. They become relics in the land, carved from the Earth to make the space more intense and extreme. That aspect also leads us to have a sense of awe and respect too, but it is also a detriment to the land. <br /><br />Review:<br /><br /><a href="http://www.aleksandramir.info/texts/geldard2.html">At first spec, it's hard to marry the rich intellectual promises of the press release with the sober museological test-site on view, to get over the is-that-it? response that the historical framing of sites and objects can induce. The ideas are still in evidence, of course, just purposely concealed within the politics of display. Keith Wilson's moon-boot-material yoga mats, placed here and there, set the tone and territory of Morton's constellational arrangement: 1960s spiritual, 1970s retail and twenty-first-century eco values collide in this remodelled object. Fanned out on the ground, they appear to have broken the fall of a TV set playing Aleksandra Mir's sublime film 'First Woman on the Moon' (1999), which follows the daylong transformation of a Dutch beach into a lunar landscape. The temporal nature of the endeavour brings to mind Robert Smithson's 'Spiral Jetty' (1970), while Mir's tenderly filmed cast of faux-1960s women, burly construction crews and passersby imbue her gender-political message with rich human as opposed to dry academic undertones. Snippets of space-mission audio and an eclectic score supplied by Hasselblad, the cameramaker contracted by NASA for the original landing and a sponsor of Mir's project as well, raise and lower the exhibition pulse as if at the behest of a coronary condition.<br /><br />Naturally, very little is as it seems. Formally light works harbour expansive narratives; truth and fiction layered to form improbable theoretical structures. Carey Young, for example, stipulates that her 'Plato Contract' (2008), a boy's bedroom poster-cum-photowork of the moon's Plato crater, will only become art for the purchaser once installed on the moon. The distance between wag-the-dog plausibility and mad-as-a-box-of-frogs lunacy often appears too close to call. It's impossible to say at what point science bleeds into fiction during Karen Russo's docufictional video account of a male psychic describing a location ('the dark side of the moon') simply from a set of map coordinates. For while his Ancient Egypt-inspired vision appears the stuff of comic-book fantasy, 'remote viewing' is known to have been used as an experimental surveillance technique during the Cold War.</a><br /><br />- Deceitful Moon. by Rebecca Geldard ArtReview, #35, London, October 2009.<br /><br /><br /><br />Jussi Kivi<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir9u2FfQjJd0QMvFEJFYGDTTIKq83ieQYdQY-qrOGGGlzjjdqHDPxISAQIIE8mXvfGJ5StQVoysWY9PqaPPGpaZa3clX0Fmopt0vVKFcZeFWWTJKSK-PpDd-0VAhU6iS6KkFa9qso36RcQ/s1600/jussi+kivi+besenhorster4web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 353px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir9u2FfQjJd0QMvFEJFYGDTTIKq83ieQYdQY-qrOGGGlzjjdqHDPxISAQIIE8mXvfGJ5StQVoysWY9PqaPPGpaZa3clX0Fmopt0vVKFcZeFWWTJKSK-PpDd-0VAhU6iS6KkFa9qso36RcQ/s400/jussi+kivi+besenhorster4web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455070099890466610" /></a><br />House of Enigmas<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW9ypMPc-mJ8wjRYmyPHdye3ghT44KAkRB_V1Ys-DwM1flLkrJh_xWDwaP5043bmsP8Le6FtUuv5VdafCUviLkAsR0xcg7kZPk2PuQdv5vm-6zvk_trwQW72SRgwtiSp0GCWxlKssn6d71/s1600/hottentot3web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 330px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW9ypMPc-mJ8wjRYmyPHdye3ghT44KAkRB_V1Ys-DwM1flLkrJh_xWDwaP5043bmsP8Le6FtUuv5VdafCUviLkAsR0xcg7kZPk2PuQdv5vm-6zvk_trwQW72SRgwtiSp0GCWxlKssn6d71/s400/hottentot3web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455070090512472338" /></a><br />Hottentot House<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAACKkYk_B7QvR3CZn7k1-GIvUkd7TwL3J_IuvzkC-sqCbJPnO8h7GUHW9xix0jrHkw56dACBZzqjYFSuDuY8egmtZJwuKQqVDcjWYlBujuYdSAZaVJoQId5eIkNZAKwE53L7AV0bhWYtX/s1600/jussi+kivi+maja5web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 279px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAACKkYk_B7QvR3CZn7k1-GIvUkd7TwL3J_IuvzkC-sqCbJPnO8h7GUHW9xix0jrHkw56dACBZzqjYFSuDuY8egmtZJwuKQqVDcjWYlBujuYdSAZaVJoQId5eIkNZAKwE53L7AV0bhWYtX/s400/jussi+kivi+maja5web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455070083135038434" /></a><br />Dwarf House<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFfOH530XGykyDb2ArMKpHF8HyMeN4BRWqwIYW7HWUc07p-ltvjEKzWwzzAFgSC54BZktLOcCZ6zHgQaTVKG-r8Q9olhdiKZUYbgI5P_dSMsYWswvf9N-bcPgkqHMfpl22QDfcJzXvEwZB/s1600/Jussi+Kivi+besenhorster+Panoraama+2web.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 151px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFfOH530XGykyDb2ArMKpHF8HyMeN4BRWqwIYW7HWUc07p-ltvjEKzWwzzAFgSC54BZktLOcCZ6zHgQaTVKG-r8Q9olhdiKZUYbgI5P_dSMsYWswvf9N-bcPgkqHMfpl22QDfcJzXvEwZB/s400/Jussi+Kivi+besenhorster+Panoraama+2web.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455070079037115730" /></a><br />The Pavillon <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ64TIT3VQKPX3VKyfB_C_V4UqQDrLXh-HMhcRq56EVE0AQrMUjVJqsiMzu7mFV-iIJZlwwTPMcv-nmgbg7MAeyCqzLaBqL-Yv1MmaoqFWMnpNHRp8_SWGIeM82Lqpn4lxgYI5ScjSvl5x/s1600/kivi-w3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJ64TIT3VQKPX3VKyfB_C_V4UqQDrLXh-HMhcRq56EVE0AQrMUjVJqsiMzu7mFV-iIJZlwwTPMcv-nmgbg7MAeyCqzLaBqL-Yv1MmaoqFWMnpNHRp8_SWGIeM82Lqpn4lxgYI5ScjSvl5x/s400/kivi-w3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455075012079131058" /></a><br />Cave 1245 "the theatre", Kivikko , Helsinki, 2006, c-print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt1ddlf0eoyehhnuNDhHynClTAD3PQ-YPzAvpYF8cmxg7hhCOQVQc-WVOlWCLkd8XQwfI1S81780EnEL05BlQNHo31fWw__YvCmMPK1Rp-zAY4IrTL5PFDiRgY7Ji58txQ-XAkCcoxtbg3/s1600/kivi-w1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt1ddlf0eoyehhnuNDhHynClTAD3PQ-YPzAvpYF8cmxg7hhCOQVQc-WVOlWCLkd8XQwfI1S81780EnEL05BlQNHo31fWw__YvCmMPK1Rp-zAY4IrTL5PFDiRgY7Ji58txQ-XAkCcoxtbg3/s400/kivi-w1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455075013909685170" /></a><br />Wall in Vuosaari, November, 2006, c-print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDkzW_0e2KU79cpH8-yhouqM5qrnnX2XuSSEnU9EMz5XbnfgCc78ssHcFHaJfH-Osvl85tN3npA6Gys2S35jskmPpza0d-6bfXK0XWfXDiz-v24-vwubC8MyZUIB8UbsDxCejEVjFyQ-C/s1600/kivi-w2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 277px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhDkzW_0e2KU79cpH8-yhouqM5qrnnX2XuSSEnU9EMz5XbnfgCc78ssHcFHaJfH-Osvl85tN3npA6Gys2S35jskmPpza0d-6bfXK0XWfXDiz-v24-vwubC8MyZUIB8UbsDxCejEVjFyQ-C/s400/kivi-w2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455075003745561522" /></a><br />Material from the Speleology Department: Floor plan:<br />Cave 1242, Kivikko, Helsinki, 2005, mixed media<br /><br />What has interested me in Jussi Kivi is that he is interested in geography and art as an entity, but also his re-contextualizing of the landscape and historic monument that are his first four photographs that I present in my blog. The place is in the outskirts of Hamburg, near an old Jewish cemetery, but the objects he photographs is an old building from the Nazi era. It's in fact an old gun-powder mill the Nazis used, but in the styling of the old German romantic painters, he renames the site of the cause of so much death, into a romantic aesthetic. This project was part of the mapping project of Hamburg, where Artists and writers used artistic interpretations to map the land around them. The buildings are shot in a monumental way, the old historic sites become something else. That's something i am interested in, he doesn't mind when spaces of rural and untouched natural beauty begin to overlap with cultural objects. I agree, I do mind in an environmental way, but I think he also has a point in his view. But it also goes into the idea of creativity vs. destruction, another aspect in which my art is to explore. <br /><br /><br />Review:<br /><br /><a href="http://www.arsfennica.fi/2009/kivi-en.html">“What most interests me is the landscape,” says the artist Jussi Kivi. He also makes hiking trips to experience it. It need not be untouched, national-romantic nature; it can be the borderlands between culture and nature – even a rubbish dump.<br /><br />Kivi makes notes on his expeditions: he writes, draws and makes maps, photographs and videos. Some of these become artworks, for example, large photographic prints. Kivi himself compares them to old genre paintings. Although he seeks the aesthetic, they still have an awareness of contemporary art: a distance, irony, and politicality, which are also evident in Kivi’s book Kaunotaiteellinen eräretkeilyopas (trekking guide for art lovers, 2004).</a><br /><br />-Otso Kantokorpi<br /><br /><br /><br />Center For Land Use Interpretation<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFiZNbE10d5mVRmIfglSB6SLczK-cyPkKY_dwAz5r9dqBFH5mewynIDf434-B3Nr4P-ma0nICuEQb3WsbPYx6ReJLvKfJTM75CYFOr048Ukju_qxa7tEk4t0Je7veJcaqf3s0UYcC7juWW/s1600/dd76f782043f019ccef71399.medium.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 265px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFiZNbE10d5mVRmIfglSB6SLczK-cyPkKY_dwAz5r9dqBFH5mewynIDf434-B3Nr4P-ma0nICuEQb3WsbPYx6ReJLvKfJTM75CYFOr048Ukju_qxa7tEk4t0Je7veJcaqf3s0UYcC7juWW/s400/dd76f782043f019ccef71399.medium.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455081394990267650" /></a><br />Mount Greylock Summit. Photograph. Dimensions and media Variable<br /><br />Description: A granite tower was originally destined to be a lighthouse on the Charles River estuary in Boston, but was instead hauled up to the top of Mount Graylock, Massachusetts' highest peak (3,491 feet), in 1932 and dedicated as a war memorial. The 92-foot-tall tower has an observation deck and a glass sphere at the top containing six 1,500-watt searchlights, the most powerful light in the state at the time of construction. The tower is not the highest structure in the state, however. A 200 foot tall television transmission mast was built near the tower by General Electric in the early 1950's, and was later bought by a New York State network affiliate.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6-0aRxxLJjb0pJBwR71c6iqyrQtUay8w67H_w8i87ZWuw7heM9ODsbeYwidjhll2Xcte9I6VHN3Cd7d02aKPRxT088VsiiClICYEAIrmNuCBCgzhThKhl3A9tmoNGXLTiUgXh9oKgEBGV/s1600/df1d5ceb09993296b590ca8a.medium.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 261px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6-0aRxxLJjb0pJBwR71c6iqyrQtUay8w67H_w8i87ZWuw7heM9ODsbeYwidjhll2Xcte9I6VHN3Cd7d02aKPRxT088VsiiClICYEAIrmNuCBCgzhThKhl3A9tmoNGXLTiUgXh9oKgEBGV/s400/df1d5ceb09993296b590ca8a.medium.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455081393188380530" /></a><br />Plymouth Rock. Photograph. Dimensions and media Variable<br /><br />Description: The rock is under an elaborate protective canopy next to the coast. One of the few caged boulders in the nation.<br /><br />Although I have used CLUI before in my word project, and have referenced them on many occasions, I Feel that their archive of work and information is so great that I should be able to tap into its resources again for my research. This is another one of their projects, where they went around and photographed the Monuments that are in the Bay state, that being Massachusetts. They arouse interpretation through imaged based knowledge. Since I am focusing on the monument, I felt that opening it up to all interpretations of the word monument is acceptable. This being the most literal interpretation becuase they in fact are National Monuments preserved by the Government and sites of flocking tourists. I think that this is opening up dialogue about the ideas of "The Monument" in American culture. What about the monument attracts so many people to that specific site? Do people really get enjoyment by returning to a place where something of significance was built? What is the point of people flocking to them? I wonder about that. Have I ever been to a place where something culturally was built and possibly receive some sort of existential gratification from it? Maybe, i always felt that feeling from isolated nature and the experience of a city, rather than a monument or point of interest. <br /><br /><br />Review:<br /><br /><a href="http://www.massmoca.org/event_details.php?id=369">Land use and aesthetics<br /><br />Sustainability and politics of land use are at the forefront for artists who look at how people use the landscape, and also at alternative modes of energy. Center for Land Use Interpretation’s (CLUI) mission is to better understand land and landscape usages through research, artist residencies and exhibitions. For Badlands, CLUI will present a project entitled Massachusetts Monuments: Images of Points of Interest in the Bay State, which uses photographs and text to take museum visitors on a virtual tour of land usage throughout Massachusetts. Visitors weave through a world of plants and paths, occasionally discovering small carved marble highways and cityscapes in Yutaka Sone’s indoor “jungles” -- ideal worlds where nature engulfs “progress.” Joseph Smolinski, on the other hand, provides a creative solution to the politics of the land use by creating a wind turbine made to look like an enormous pine tree – not unlike the cell phone tower “trees” that dot our highways – merging a facsimile of a natural environment with a renewable power source. </a><br /><br />- Denise Markonish<br />Badlands curatorial statement<br /><br /><br /><br /><br />Tony Cragg<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFzHO0lFgVq2cjPUA2tFPcCeHMLzhU3OauYGJFt3b-HRUjR5bTLiIfD2D3r-Lg8VAhmYSJPYe1FtQI12C2-8Ys-98EGdbAEhZi1zRSZp9dntZdzqWc5O5M_hTt1CBxfj9OlKqHlURg3Jkc/s1600/m0qlf4_1f4_l.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 280px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFzHO0lFgVq2cjPUA2tFPcCeHMLzhU3OauYGJFt3b-HRUjR5bTLiIfD2D3r-Lg8VAhmYSJPYe1FtQI12C2-8Ys-98EGdbAEhZi1zRSZp9dntZdzqWc5O5M_hTt1CBxfj9OlKqHlURg3Jkc/s400/m0qlf4_1f4_l.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455101370158939314" /></a><br />Clear Glass Stack. 1999. Glass. 2200 x 1300 x 1400mm<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnr2SD9Lybg0D_ZpgN2Bcs2Asd6NGLQX1V-hKFpNwd3SiOCtdJVenCJx56LFRMCbC7rp6dt6QlcKrw92Y0tN-Hd-MiqW7FAltnHPsAdVU2-7HxPsHqBfBcTzRvcHwpVqqHUfT6httW_Kie/s1600/public-1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 250px; height: 339px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnr2SD9Lybg0D_ZpgN2Bcs2Asd6NGLQX1V-hKFpNwd3SiOCtdJVenCJx56LFRMCbC7rp6dt6QlcKrw92Y0tN-Hd-MiqW7FAltnHPsAdVU2-7HxPsHqBfBcTzRvcHwpVqqHUfT6httW_Kie/s400/public-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455101007003023682" /></a><br />Constant Change<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_gAM89TmiHPPwylQiVkYmWNJoO6R9j9A_RsMcUyBK41iP67EtXsjhzDMpU_WdLCYK597XRkVdoptSqMFSZX8eV-QzSM3rYNpKhZp3gvJPSUX73smOQl8hCWOX6RZynSauaffRUuJZrss3/s1600/crag2.GIF"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 166px; height: 239px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_gAM89TmiHPPwylQiVkYmWNJoO6R9j9A_RsMcUyBK41iP67EtXsjhzDMpU_WdLCYK597XRkVdoptSqMFSZX8eV-QzSM3rYNpKhZp3gvJPSUX73smOQl8hCWOX6RZynSauaffRUuJZrss3/s400/crag2.GIF" border="0" alt=""id="BLOGGER_PHOTO_ID_5455101001242843570" /></a><br />Minster. 1992. mechanisms, springs, disks, bolts. H. 285, 275, 260, 215 cm. base. 250 x 250cm<br /><br />I chose Tony Cragg because of his monolithic interpretations of the tower and its spatial design and monumental aesthetics. His work involves the towering spires that are a staple of contemporary culture and city design. They have become an iconic symbol of our time and cities, but he also points out that these spires have been in place for ages. His work seems to point back to the very olden times such as the Aztecs or the Babylonians (Babylon and Nineveh). These objects become very open to interpretation and I like to see them as these minimalist sculptures that incorporate the past, present and future. This relates to my work by creating an object in space, the idea of stacking and manipulated throughout a landscape (since much of his work is very public) he plays with the notion of spatial relationships, something I feel my work does, but in a 2-D way.<br /><br /><br />Review: <br /><br /><a href="http://www.nzmuseums.co.nz/account/3236/object/1435">Since the 1980s, British sculptor Tony Cragg has maintained a consistently high profile on the international stage. Cragg's works can be divided into various loose genuses within his practice, such as stacks, heaps and piles, fragments or early forms. He explains that his glass works of the late 1990s have their "roots in a much earlier activity in my history of making. They relate obviously, physically, to sedimentary works, to the collection of objects, to assemblage, to additive sculptur,, to stacking things.... they're very much to do with things accruing, having a construction underneath the whole thing, building it up." Clear Glass Stack is the most refined of his glass works, the one in which the idea is crystallised. It eschews the allusive connotations seen in other works of the same period and is concerned with the purity of the sculptural idea. Indeed writers have commented on Cragg's borrowings from minimalism and, as Kay Heymer explains, his pursuit of the 'sculptural idea, resembling a scientific experiment conducted until it yields no further answer to the current query". Cragg is not directive about the angle or approach that should be taken to his work, but emphasises that his work is concerned with engaging our visual rather than haptic sense. His works can be playfully humorous and he is intrigued by the visual paradoxes his works sometimes unexpectedly present.</a><br /><br /><br />Manfred Pernice<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicedhIe-xQCCxQt69nutpcHIxqqJ-iZVCFywWbTWf6sumXsNRcg-MFSXV5Kq-YpxfhJNjKn6IWkvTu_0Vd7A7wXwwUXZufc7Ou5LB9KrR8ojgyoB5ehRxqrrffJNbzYjR-srQRCHpaYv-b/s1600/458.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicedhIe-xQCCxQt69nutpcHIxqqJ-iZVCFywWbTWf6sumXsNRcg-MFSXV5Kq-YpxfhJNjKn6IWkvTu_0Vd7A7wXwwUXZufc7Ou5LB9KrR8ojgyoB5ehRxqrrffJNbzYjR-srQRCHpaYv-b/s400/458.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455112006363640482" /></a><br />Plateau (study). 2004. Painted Particle Board. 26 x 47 x 16in<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1KlJGzmK5cW3mmsTyKs6JGW-Vp8v9mtkdBxNdjZDz9lQt3dtWqwTktAV2Bca98a69mSAGSpH7CCn7y56qMMRR33KLhS3FukYxPvTLIAHMiKvJfLW9AHNkU3DFSekd-BBzQlS4-yYLdoh/s1600/459.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz1KlJGzmK5cW3mmsTyKs6JGW-Vp8v9mtkdBxNdjZDz9lQt3dtWqwTktAV2Bca98a69mSAGSpH7CCn7y56qMMRR33KLhS3FukYxPvTLIAHMiKvJfLW9AHNkU3DFSekd-BBzQlS4-yYLdoh/s400/459.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455112002296515602" /></a><br />Plateau (Frau Saft), 2004. Painted particle board, ceramic sculpture, lamp<br />35 x 82 x 142 in<br /><br />What I like about Manfred Pernice's work is that it takes cues from architectural forms found in public spaces such as phone booths, kiosks, street lamps, etc. He also uses very accessible materials and seems to be very much into the ready made to a degree. The monumental aspect comes from the object and its aesthetic and relationship to the space. Much of his work is based off of monumetal figures such as citadels and industrial towers as well. Since the work is based on man made utilitarian objects, but are created by an artist and very pedestal-esque in appearance, it becomes elevated in its viewership. His works play with scale and shape so they create a dialogue about the familiarization with architecture.<br /><br /><br />Review:<br /><br /><a href="http://findarticles.com/p/articles/mi_m0268/is_8_37/ai_54454988/">One immediate reason for the surge of interest in Pernice's work is its commentary on architecture, a cipher for any number of social and political issues in the New Berlin. But for all the architectural subtext, his works are thoroughly engaged with basic sculptural issues of form, assembly, and surface. His contribution to the Berlin Biennale - Tatlintower, 1998, a hulking construction of horizontally layered wooden boards that seems like an abstract riff on Chicago's Marina City, the combination apartment complex, office building, and aboveground parking lot that became an icon of '60s architecture - oscillates between an organic and technoid appearance. Pernice succeeds in fusing the social and political implications registered in his towering structure (here, a revisitation and reconsideration of utopian multifunctional architecture) with a genuinely sculptural sensibility. The lines of the horizontally layered slats circumscribe the volume of the sculpture and define a large area of surface tension. The "cumulative" arrangement of the slats and their relationship to the inner core of the structure thematize the inherently sculptural aspects of structural support and distribution of load. Pernice simultaneously reveals and conceals by allowing a view into the interior of the sculpture without, however, fully exposing the construction.</a><br /><br /> ArtForum, April, 1999 by Yilmaz Dziewior <br /><br /><br /><br />Sam Durant<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_AwvzVLr_KGQ6sre2krb2lx_NoGt6E5I2soqrixpvPzN7Zxo0LTPQyIPC4gMYy26BuPKPAsZgRxi01oLSNO5Aqyz0vCqmQc7OYTR2DdYaNQLOD-S7JVgrfX3F9RJpxyjcxy5z2e6OJLWB/s1600/sam_durant_obelisks-thumb.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 301px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_AwvzVLr_KGQ6sre2krb2lx_NoGt6E5I2soqrixpvPzN7Zxo0LTPQyIPC4gMYy26BuPKPAsZgRxi01oLSNO5Aqyz0vCqmQc7OYTR2DdYaNQLOD-S7JVgrfX3F9RJpxyjcxy5z2e6OJLWB/s400/sam_durant_obelisks-thumb.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455121801933390626" /></a><br />Proposal for White and Indian Dead Monument Transpositions, Washington DC, 2005. Medium densiy fiberboard, foam, enamel, acrylic, basswood, birch veneer, copper. 30 Monuments. Dimensions Variable.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinffLjqceyJII3fr3u1bMkUuZJIrQvm-peIyrdIfG6dcv3qz98nj8urIptWSPCzLwpUDwQQTgHnx5-Ud63Z_EDj59__jRLBdSpQzN5Ma71l8NKPZcGEOq1EE_PBXgV2BJnE7H9Hs5Pqkgt/s1600/durant.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinffLjqceyJII3fr3u1bMkUuZJIrQvm-peIyrdIfG6dcv3qz98nj8urIptWSPCzLwpUDwQQTgHnx5-Ud63Z_EDj59__jRLBdSpQzN5Ma71l8NKPZcGEOq1EE_PBXgV2BJnE7H9Hs5Pqkgt/s400/durant.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455121798311979234" /></a><br />Proposal for Monument at Altamont Raceway, Tracy, CA, 1999. Polyurethane foam, acrylic, wood, steel, speakers, CD Player, miscellaneous hardware. 69 x 74 x 100in<br /><br /><br />Sam Durant's work is very political in its presentation and its context. His sculpture Proposal for White and Indian Dead Monument Transpositions is very much about the idea of monumentality, He plays off of the obelisk, an object that throughout the ages acted as a monumental structure. The pieces were all based off of obelisks from throughout the USA. The work addresses architecture, civic design, and American Monuments.<br /><br /><br />Review:<br /><br /><a href="http://www.artreview.com/profiles/blog/show?id=1474022%3ABlogPost%3A3276">Sam Durant's recent works have explored the memorialisations of otherness that mark quirky American spaces with their histories. Durant, who grew up in the vicinity of the mythic Plymouth Rock, site of the Pilgrims' landing in the New World, assembled the figures and props he bought from the museum into sculptural installations for his recent exhibition at Massachusetts College of Art. Defunct bodies made of a reddish-brown rubbery material come together in eerie and silly combinations. Mobilising the uncanny look of a haunted wax museum, Durant's project combines an antique-store's kitschy aura with deconstructed historiography, showing us the tattered banality of colonial logic. The fraying costumes, the dead eyes, the wear and tear of the decades that have passed since these objects were made: all of these contribute to a material mash-up of the 1600s, the 1960s and now. Durant successfully disperses the mystical ambience of these memorial objects, and consequently the superstitions they memorialise. Rather than materialising as a sturdy foundation for a national historical project, these broken-down myths in wax-figure form appear particularly flimsy. Durant's manipulation of these figures shows how malleable such asserted natural histories are, whether in the hands of hegemonic power or a clever Southern California artist. </a><br /><br />- Malik Gaines<br />Sam Durant: Shaping History<br />Posted by ArtReview magazine on February 22, 2007 at 2:00pm<br /><br /><br />Eva Rothschild<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeefuj8HEm4REkzHOsTWLO4n_HB_erepCgI6tHjtNAvUIXhLLXXl1IQSlO3HOmU2Apr8uXui4smFSfKa2NScmBsmZxp8apJAeZf-mm5KBX83-xq3sR8gIuPf6rjN-5KjjeB8p0lP5xFUDB/s1600/eva_rothschild_high_times.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 280px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeefuj8HEm4REkzHOsTWLO4n_HB_erepCgI6tHjtNAvUIXhLLXXl1IQSlO3HOmU2Apr8uXui4smFSfKa2NScmBsmZxp8apJAeZf-mm5KBX83-xq3sR8gIuPf6rjN-5KjjeB8p0lP5xFUDB/s400/eva_rothschild_high_times.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455130841971873330" /></a><br />High Times. 2005. Leather and Steel Support. 171 x 15.5 x 15.5in<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lBnbHtLuMDak1CZj8M4WtW_Sjgh_4RePE44rdI6z4ETRjK02_ZLwidG5TsDoe03H168Wvy3NI4wdGWwaqNLmLkJqzNjUvAAVg7oZGhFivs7FvGdgqRWoson9fkWNf_WGg7cEXiKrsB04/s1600/P1020251.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2lBnbHtLuMDak1CZj8M4WtW_Sjgh_4RePE44rdI6z4ETRjK02_ZLwidG5TsDoe03H168Wvy3NI4wdGWwaqNLmLkJqzNjUvAAVg7oZGhFivs7FvGdgqRWoson9fkWNf_WGg7cEXiKrsB04/s400/P1020251.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455130841194825586" /></a><br />Someone and Someone - 2009. Steel and paint.<br /><br /><br /><br /><br />Review:<br /><br /><a href="http://www.southlondongallery.org/docs/exh/exhibition.jsp?id=138">Eva Rothschild has achieved international acclaim for her practice which involves both conceptual and socio-political ideas alongside traditional approaches to making sculpture. One of the most highly regarded artists of her generation, Rothschild presents new and recent work for her solo exhibition at the South London Gallery.<br /><br />For more than ten years Rothschild has investigated concepts of form and materiality in sculptural works that use leather, wood, Perspex and, occasionally, surprising objects such as incense sticks and used tyres. Such materials often appear to transcend their physical limitations, hovering between representation, symbolism and actual form. By deliberately destabilising physical and visual characteristics in her work, Rothschild not only questions the aesthetics of art, in particular minimalism, but also those of belief in social liberation and spiritual movements.</a><br /><br />- http://www.southlondongallery.org/docs/exh/exhibition.jsp?id=138<br />author not cited<br /><br /><br />Manfred Willmann<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLNnnk6W88w1s5Qw11DxqriuL0XjRz-oCrT1wCCH2uXTXS78eJFyUOSIMDaI469QJhMNFNFfHMMfsAjN9Yhq0E_U_W9wkGd3Fth-8wVnKRBJtuI5Tj75up0a81N46yJHpudfUuP83hE8SA/s1600/002.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 360px; height: 357px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLNnnk6W88w1s5Qw11DxqriuL0XjRz-oCrT1wCCH2uXTXS78eJFyUOSIMDaI469QJhMNFNFfHMMfsAjN9Yhq0E_U_W9wkGd3Fth-8wVnKRBJtuI5Tj75up0a81N46yJHpudfUuP83hE8SA/s400/002.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455134212227973762" /></a><br />Manfred Willmann, Das Land (1981 - 1993) 27.5x27.5in. C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6L282vx4ZOwcxQkISvLQd7MVNy-i-U6tL47M8BrgQK1J41Sw1uD6GiLBNYCQdAuyhPQQpuT3wZgR0ngmEw7k8_hkmo-8rgwZowbhphLLOaum83_uLGG_ZXEf3_IZrP-wY6gnMQsmT7a0H/s1600/oman03.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 190px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6L282vx4ZOwcxQkISvLQd7MVNy-i-U6tL47M8BrgQK1J41Sw1uD6GiLBNYCQdAuyhPQQpuT3wZgR0ngmEw7k8_hkmo-8rgwZowbhphLLOaum83_uLGG_ZXEf3_IZrP-wY6gnMQsmT7a0H/s400/oman03.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455134204539824098" /></a><br />Manfred Willmann, Oman, 1997 C-Print<br /><br /><br />Review:<br /><br /><a href="http://www.g-mk.hr/programme/Manfred-Willmann:-Das-Land-,-Oman,-Japanese-Food,-three-photographic-cycles/114/">The central theme of Manfred Willmann's photographic cycles "Das Land" (1981.-1993.), "Oman" (1997.) and "Japanese Food" (2000.), simultaneously shown in Zagreb, are registration, objectivity and visualization of aspects and manifestations of human relations, surroundings and immediate environment, all that encloses people in social and natural landscape where they dwell and act - in their most diversified and often absolutely ambivalent details. The excellent Willmann's cycle "Das Land", exhibited all around the world in the most prestigious museums (Museum of Modern Art in New York bought off the part of it), discloses the artist who, at least in this case, does not care for global and great themes, but is focused on just one social (rural) segment, where he moves with ease as its authentic connoisseur and where his eye, sensitive especially to the social aspect, recognizes the motley mosaic of sundry, social and private, often even very intimate details of rural community and villagers' socializing.<br />The cycle contains sixty photographs created without special preparations and laboratory editing and shows very intimate photographic entries of people and nature in Grossradl community in western, rural part of Steierland. The artist kept these entries for twelve years as a kind of subjective photographic diary that discloses not only the panorama, but the whole universe of different scenes that document the fullness of village life in the county. These expressive and suggestive, intimately charged photographs show particular landscape's spirituality and beauty, enhancing and shading it by the presence of local inhabitants. Blended with the environment, fitted into it by the artist's gesture, they seem to be grown together. "'Das Land' means the familiarity with this region, meeting the people and families that live there, their work, their homes, their friends", says Willmann. Instead of focusing on local historic sites and picturesquesness, like regional customs, insignia and attributes like folk costumes, folklore and similar phenomena, the artist, obviously already at home in the region and well accepted by the locals as a dear guest - avoiding to direct, frame or form into style - registrates small scenes of relaxed and spontaneous atmosphere, frivolous presence, numerous changes throughout the years, alterations of village life dictated by the change of seasons, as in landscape so in animal world, to create the rich and above all convincing mosaic of details that clearly, with unhidden sympathy, document the life - getting into the spheres of social life, like parties, celebrations, dances, but also into the most intimate ones (like a girl washing her feet) - emphasizing these people's ordinariness and modesty - everyday routine at households and farms - in a small, seemingly uninteresting environment that, as it seems, could be found anywhere. Willmann's photographs are sometimes naturalistically cruel - like the one showing a cat with bloodstained snout or the other one showing a pig's head in the cauldron full of bloody water or the photograph of a liver drying on the tree - but sometimes they are deliberately sentimental. "At the same time sentiment blends with roughness, life and death exist in the close touch of reality, peasant's coarse hands hold a small rabbit with lots of compassion and chopped off pig's head floats in bloody liquid in the plastic can", Vinko Srhoj wrote. Willmann exposes villager as a content man, decently registrating his feeling of boredom and resignation as a result of settled life that is carefully planned, from day to day, lived for centuries by established and bent ritual. Living its life, the community fights for its customs and resists the changes that come with contemporary civilization (and aggressively imposed globalization) that are, as the cycle shows, unavoidable. In any case, Willmann "felt" the spot where discrepancy between the world and ego is the thinnest.</a><br /><br />-Ivica Zupan <br />http://www.g-mk.hr/programme/Manfred-Willmann:-Das-Land-,-Oman,-Japanese-Food,-three-photographic-cycles/114/<br /><br /><br /><br />Francis Alys<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWel1b3_XHKP00eT0rwpQL-jzllMw_ZKXGIF2W1ZeX_UvJP8DTmqvT2UTFyw19Wxnt1phuyVSje5C5B4Xj48FI4pxEBLUJw80vFmOUHs2imCXvN_vLALYeYLoHx1KbGhIAU-htn7mK5aGs/s1600/francis-alys-1-1008-def.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWel1b3_XHKP00eT0rwpQL-jzllMw_ZKXGIF2W1ZeX_UvJP8DTmqvT2UTFyw19Wxnt1phuyVSje5C5B4Xj48FI4pxEBLUJw80vFmOUHs2imCXvN_vLALYeYLoHx1KbGhIAU-htn7mK5aGs/s400/francis-alys-1-1008-def.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455135878779210354" /></a><br />When Faith Moves Mountains. (In collaboration with Cauhtemoc Medina and Rafael Ortega). 2002. Video Still. Dimensions Variable.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyCtnL78YAK7YvLCxKwMM40i5-L5K1F-d8L1rLuOKVt_vTG6ObkfNP9y1qHxtxCIdWdkUDXyAtDIM3vPUYJFM_O4MoV0jElwC_ncxSoD-oKUgCpodI8RMhzNznkkgtcFFyFNzQeZwlnVUU/s1600/francis-alys2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 250px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyCtnL78YAK7YvLCxKwMM40i5-L5K1F-d8L1rLuOKVt_vTG6ObkfNP9y1qHxtxCIdWdkUDXyAtDIM3vPUYJFM_O4MoV0jElwC_ncxSoD-oKUgCpodI8RMhzNznkkgtcFFyFNzQeZwlnVUU/s400/francis-alys2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5455135872283234210" /></a><br />The Making of Lima. (In collaboration with Cauhtemoc Medina and Rafael Ortega), 2002. Video Still. Dimensions Variable.<br /><br /><br />Review:<br /><br /><a href="http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Francis%20Al%C3%BFs&page=1&f=People&cr=1">"Sometimes making something leads to nothing, sometimes making nothing leads to something." The seemingly paradoxical logic of this statement, uttered by the artist himself, informs the work of Francis Alÿs. His works often begin as simple actions performed by himself or commissioned volunteers, which are recorded in photographs, film, and other means of documentation such as postcards. Many of his projects are generated during the artist’s “walks,” or paseos, in which he traverses city streets. In these works, Alÿs proposed witty updates to Baudelaire’s figure of the nineteenth-century flaneur. His first walk was The Collector (1991–92), in which he strolled through the streets of Mexico City pulling a small metal “dog” by a leash, its magnetic wheels collecting the city’s detritus in its wake. In Paradox of Praxis (1997), the artist pushed a large block of ice down the streets for hours until it was reduced to a mere puddle. For The Leak (1995), he roamed the streets of Ghent with a punctured can of paint, leaving a sort of Jackson Pollock-like breadcrumb trail back to a gallery space, where he finally mounted the empty paint can to the wall.<br /><br />Alÿs's endeavors often exceed the dimensions of discrete objects. In 2002 a group of some five hundred volunteers armed with shovels formed a line at the end of a massive, 1,600-foot sand dune and began moving the sand about four inches from its original location. This epic project, When Faith Moves Mountains (2002), was completed for the third Bienal Iberoamericana de Lima in a desolate landscape just outside the Peruvian capital. The work is neither a traditional sculpture nor an Earthwork, and nothing was added or built in the landscape. That the participants managed to move the dune only a small distance mattered less than the potential for mythmaking in their collective act; what was “made” then was a powerful allegory, a metaphor for human will, and an occasion for a story to be told and potentially passed on endlessly in the oral tradition. For Alÿs, the transitory nature of such an action is the stuff of contemporary myth.</a><br /><br />-Guggenheim, author not specified.<br />http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Francis%20Al%C3%BFs&page=1&f=People&cr=1JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com1tag:blogger.com,1999:blog-4646797669747360547.post-46722216095688205972010-03-25T05:38:00.000-07:002010-03-25T06:21:28.983-07:00Environment<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6B2Ms22iXsZ_LR6tAQMVozOanKllrCrOOxGpoGR719DgT_YDOpgtD2UOepjZgQZ-7Oi-zOuQE5MHSxulzqIr4UyVWfix03GjbIpDDJZlSkccvJSKi1IDDGjuZAYkowZKQBa0mvz_DIcuO/s1600/2348-004.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6B2Ms22iXsZ_LR6tAQMVozOanKllrCrOOxGpoGR719DgT_YDOpgtD2UOepjZgQZ-7Oi-zOuQE5MHSxulzqIr4UyVWfix03GjbIpDDJZlSkccvJSKi1IDDGjuZAYkowZKQBa0mvz_DIcuO/s400/2348-004.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5452558349222090178" /></a><br />J Henry Fair. <br />Heavy Metal Waste From Fertilizer Production. This is one of the top 10% most polluting factories in the USA. It is known to be a major emitter of lead, but the fertilizer industry in particular has been effective in pressuring the EPA to reduce the reporting requirements to which it is subject, making the clear picture of its emissions difficult.<br /><br /><br /><span style="font-weight:bold;">Environment</span><br /><br />"Population pressures, unsustainable practices, and consumption have led to severe pressures on our world. Much of the planet's land base is degraded by various forms of land use: overgrazing has degraded 680 million hectares worldwide, deforestation (580 million hectares), agricultural mismanagement (550 million hectares), fuel wood consumption (137 million hectares), and industry and urbanization (19.5 million hectares). Approximately 50% of our planet's land mass is occupied by forestry, agriculture, and livestock."<br /><br />-Tensie Whelan. From the article <span style="font-style:italic;">People and the Planet</span>. From the book <span style="font-style:italic;">Badlands: New Horizons in Landscape</span>.<br /><br />This is actually appalling, yet not that hard to grasp for me and probably many others. Industry and progression in technology and our technological and agricultural needs are putting tremendous stress on our planet and environment. The numbers are there and things aren't getting better. We currently have 6.5 Billion people living here, and within a decade it's sure to reach 7 Billion. That means more industry and more needs that will need to be manufactured and created with the current state of our lands. We must point out and create meaning and solutions to these problems that will only grow substantially. <br /><br />"The redesign of our world will need artists to provide imagination, creativity and emotional connections - both to the mess we have created and to the possibilities we can create together."<br /><br />-Tensie Whelan. From the article <span style="font-style:italic;">People and the Planet</span>. From the book <span style="font-style:italic;">Badlands: New Horizons in Landscape</span>.<br /><br />What I feel is powerful about this quote is that it is a call to artists to change the world. To redesign what we know to be detrimental to our planet, our health, and the way we live our lives. We as artist have a responsibility, to create. But, as we create we need to allow ourselves to understand that we're all in this mess together, and as creatives, we need to analyze the situation and create something positive about the changing of our natural landscapes and urban territories. Especially photographers and people working in the realm of the visual arts. We have a gift that many don not. We can see things in a different light, so we need to act and become instrumental in our work and aim for a new tomorrow, today.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-32963899507803281972010-03-24T17:19:00.000-07:002010-03-25T05:38:35.489-07:00Artist Statement: Top Five WordsTop Words:<br /><br />1. Land<br /><br />Def.: an area of ground with reference to its nature or composition<br /><br />2. Terrain<br /><br />Def.: a tract of land, esp. as considered with reference to its natural features, military advantages, etc. <br /><br />3. Manipulation<br /><br />Def.: to handle, manage, or use, esp. with skill, in some process of treatment or performance<br /><br />4. Spatial (design)<br /><br />Spatial Design is a relatively new discipline that crosses the boundaries of traditional design disciplines such as architecture, interior design, landscape architecture and landscape design as well as public art within the Public Realm.<br /><br />It focuses upon the flow of space between interior and exterior environments both in the private and public realm. The emphasis of the discipline is upon working with people and space, particularly looking at the notion of place, also place identity <br /><br />5. Landscape<br /><br />Landscape comprises the visible features of an area of land, including physical elements such as landforms, living elements of flora and fauna, abstract elements like lighting and weather conditions, and human elements like human activity and the built environment.<br /><br /><br />Top Verbs:<br /><br />1. Exploiting<br /><br />to use selfishly for one's own ends<br /><br />2. Altered<br /><br />to make different in some particular, as size, style, course, or the like; modify<br /><br />3. Manufactured<br /><br />to work up (material) into form for use<br /><br />4. Conquering<br /><br />to gain a victory over; surmount; master; overcome<br /><br />5. Perpetuate<br /><br />To prolong the existence of<br /><br />Top Adjectives:<br /><br />1. Formalist<br /><br />In visual art, formalism is a concept that posits that everything necessary to comprehending a work of art is contained within the work of art. The context for the work, including the reason for its creation, the historical background, and the life of the artist, is considered to be of secondary importance. Formalism is an approach to understanding art.<br /><br />2. Natural<br /><br />existing in or formed by nature <br /><br />3. Monumental<br /><br />resembling a monument; massive or imposing. <br /><br />4. Remnant<br /><br />remaining; leftover. <br /><br />5. Sculptural<br /><br />To change the shape or contour of, as by erosion.<br /><br />Top Nouns:<br /><br />1. Ramp<br /><br />The use of land or created or manufactured object to be used in generally extreme sports.<br /><br />2. Trail Marker<br /><br />is the practice of marking paths in outdoor recreational areas with blazes, markings that follow each other at certain — though not necessarily exactly defined — distances and mark the direction of the trail.<br /><br />3. Space<br /><br />the unlimited or incalculably great three-dimensional realm or expanse in which all material objects are located and all events occur.<br /><br />4. Land<br /><br />(See top words)<br /><br />5. Landscape<br /><br />(See top words)JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-28839911153406104182010-03-21T19:55:00.000-07:002010-03-22T06:44:31.104-07:00Pieter Hugo<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ5UAkTxwEBLs9APAmPf1mqMLhed9qT74fDf_PgxZ5R4sE0MRj0o3JwMvT5Qahqy75hw4cMBPNPTV9k0IwPyi7y6bAq2f_A47jwZ0wVrKUNwq5bBjZ3h9I39EfxYuuLmI-NDAE0Vop65GF/s1600-h/3.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ5UAkTxwEBLs9APAmPf1mqMLhed9qT74fDf_PgxZ5R4sE0MRj0o3JwMvT5Qahqy75hw4cMBPNPTV9k0IwPyi7y6bAq2f_A47jwZ0wVrKUNwq5bBjZ3h9I39EfxYuuLmI-NDAE0Vop65GF/s400/3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5451447021486458434" /></a><br />Mallam Mantari Lamal with Mainasara, Nigeria 2005. Digital C-Print. 117 cm x 115 cm<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn71aPWC76pEQ2HdVvCGvAz-RZeZlG2JcHbobDaspei6YkYZNBC6sfEkyAh-ZDoIQ0cn8bIY2g1YKgti9N2kW_Ar7C-EI7DJ5Bua48P4V5paFUp8EwuAfuR9ghdwO1GfWECEqSX1X4ncDC/s1600-h/10.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn71aPWC76pEQ2HdVvCGvAz-RZeZlG2JcHbobDaspei6YkYZNBC6sfEkyAh-ZDoIQ0cn8bIY2g1YKgti9N2kW_Ar7C-EI7DJ5Bua48P4V5paFUp8EwuAfuR9ghdwO1GfWECEqSX1X4ncDC/s400/10.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5451447013497708290" /></a><br />Abdullahi Mohammed with Gumu, Ogere-Remo, Nigeria 2007. Digital C-Print. 117 cm x 115 cm<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglarUkrUAGItwQw0gpgbInG86bqOPPOlXl4NLAunBpYcDkkfV0Tc0jRzZCboiwwvua42z0pJPbi4IYz4E3j5posnJ4fyGtGqMx6qKq0O9orLHDGnWir4g6-bJ3b5dU24LfMWOKUfi7N3Ed/s1600-h/13.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglarUkrUAGItwQw0gpgbInG86bqOPPOlXl4NLAunBpYcDkkfV0Tc0jRzZCboiwwvua42z0pJPbi4IYz4E3j5posnJ4fyGtGqMx6qKq0O9orLHDGnWir4g6-bJ3b5dU24LfMWOKUfi7N3Ed/s400/13.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5451447002455813378" /></a><br />Mallam Galadima Ahmadu with Jamis, Abuja, Nigeria 2007. Digital C-Print 117 cm x 115 cm<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8ODTdNY1Xmqr8a9s8_0Zk2P-6f-fQ8jpIC7HxbzTtA6QyYjJoosGEVkngzDwAjnJNPbjhwy8LHqlozDf3ZwVEJCqN-aTht0ETI7oPYZDJ4X9nM2a6L8zw3J4RlMvLX-uFbQQwUILX4FT/s1600-h/26.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8ODTdNY1Xmqr8a9s8_0Zk2P-6f-fQ8jpIC7HxbzTtA6QyYjJoosGEVkngzDwAjnJNPbjhwy8LHqlozDf3ZwVEJCqN-aTht0ETI7oPYZDJ4X9nM2a6L8zw3J4RlMvLX-uFbQQwUILX4FT/s400/26.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5451446997570713074" /></a><br />Alhaji Hassan with Ajasco, Ogere-Remo, Nigeria 2007. Digital C-Print. 117 cm x 115 cm<br /><br /><br />I chose Pieter Hugo because of how he came transform his subject and balance them within a frame. There's something haunting about Hugo's Hyena & Other Men series, I love the use of the unsaturated palette in what many people around the world view Africa as a very colorful/vibrant and diverse continent. Since I have been working within a square format for most of this semester, i felt that I needed some more inspiration from someone that uses it. To continue about the color, I also use that desaturated palette with much success, I feel that adding a coolness to the image in those sort of lush condition adds a nice juxtaposition to the concept and the imagery.<br /><br /><br />Quotes:<br /><br /><a href="http://www.pieterhugo.com/selected-work/the-hyena-other-men/2.jpg/">"In Abuja we found them living on the periphery of the city in a shantytown - a group of men, a little girl, three hyenas, four monkeys and a few rock pythons. It turned out that they were a group of itinerant minstrels, performers who used the animals to entertain crowds and sell traditional medicines. The animal handlers were all related to each other and were practising a tradition passed down from generation to generation. I spent eight days travelling with them."</a><br /><br />-Pieter Hugo<br /><br /><br />"Pieter Hugo created the series The Hyena Men while traveling in Nigeria with a troupe of animal charmers and their collection of tenuously domesticated hyenas, monkeys and snakes. The portraits feature groupings of men and animals surrounded by the barren urban centers of northern Nigeria. Taken during quiet moments between the spectacles of street performances, the photographs depict a stillness that subverts the tense physicality of the animals and their trainers."<br /><br />-Yossi Milo (<a href="http://www.yossimilo.com/exhibitions/2007_11-piet_hugo/">press release</a>)<br /><br /><br />BIOGRAPHY<br />Pieter Hugo was born in 1976 and grew up in Cape Town. He underwent a two-year residency in 2002-3 at Fabrica in Treviso, Italy. In 2009 he had solo exhibitions at Tinglado 2 in Tarragona, Spain, and the Australian Centre for Photography in Sydney, Australia, among other venues, and in 2008 at Foam_Fotografiemuseum Amsterdam, the Open Eye Gallery in Liverpool and Ffotogallery in Penarth, Wales. Recent group exhibitions include Street & Studio: An urban history of photography at Tate Modern, London (2008); Make Art/Stop AIDS at the Fowler Museum, UCLA (2008); An Atlas of Events at Calouste Gulbenkian Foundation, Lisbon (2007); the 27th São Paulo Bienal (2006); and Street: Behind the cliché at Witte de With, Rotterdam (2006). Hugo was included on ReGeneration: 50 Photographers of Tomorrow, 2005-2025 (Musée de l'Elysée, Lausanne, and Aperture, New York), an exhibition identifying 50 young photographers who will be considered great by 2025, accompanied by a book published by Thames & Hudson. He won first prize in the Portraits section of the 2006 World Press Photo competition, and was the Standard Bank Young Artist for Visual Art 2007. In 2008 Hugo was the winner of the KLM Paul Huf Award and the Arles Discovery Award at the Rencontres d'Arles Photography Festival in France.<br /><br /><a href="http://www.michaelstevenson.com/contemporary/artists/hugo.htm">Biography is from the Michael Stevenson Gallery</a><br /><br /><br /><a href="http://www.pieterhugo.com/">Website</a><br /><a href="http://www.guardian.co.uk/artanddesign/2008/jul/20/photography.southafrica#article_continue">Interview/Review</a><br /><a href="http://www.pieterhugo.com/galleries/">Galleries</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-10082430880117979302010-03-08T05:28:00.000-08:002010-03-08T06:42:01.027-08:00Joseph Smolinski<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqzq3uGCldXZWZuZD-ElidrNz6gZ051fnbtATC1Tp_IoqUyGouD0Ei-D_5qFeY1Ss805j3k0iVtpnF8CX-niUSLItgHYv_YaG_YgSjV_Nx-SqpbJEPcnuJMfYyba1jhIYOyiZl33acIbS/s1600-h/02.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPqzq3uGCldXZWZuZD-ElidrNz6gZ051fnbtATC1Tp_IoqUyGouD0Ei-D_5qFeY1Ss805j3k0iVtpnF8CX-niUSLItgHYv_YaG_YgSjV_Nx-SqpbJEPcnuJMfYyba1jhIYOyiZl33acIbS/s400/02.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5446254802282370514" /></a><br />Spinning Tree for Spent Oil. 2008. Watercolor and graphite on paper. 15 x 22in<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM64uwj2EBxJD3OKWRfMhcHcou7ECs_WZ5Kg8pbCnpy3nRl0BZWcwHMlbTTVHPRZeLbh_dSizEjacQscqDwWLkP6Z8rAnu-GtBF9wlXHz_C3_axkwOetGGqlt7vTDJDeriidY0pe6rlF7q/s1600-h/JS_Cemetery.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 243px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM64uwj2EBxJD3OKWRfMhcHcou7ECs_WZ5Kg8pbCnpy3nRl0BZWcwHMlbTTVHPRZeLbh_dSizEjacQscqDwWLkP6Z8rAnu-GtBF9wlXHz_C3_axkwOetGGqlt7vTDJDeriidY0pe6rlF7q/s400/JS_Cemetery.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5446254798108660930" /></a><br />Cemetery (2009), Ink, watercolor and graphite on paper, 26 x 40 inches<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwE2NpGXTKfNwI5ebMH5dWNMGGXm1hd4MCLiljdgeVy6-zgs-AVT3dALeUDhEaXkgP6i_FVOLUI6IAB_H_ICzer5D1-QbgvqEAXQTL8QYpE3z2w5IGwlgX57DTk4iDha5pbvmL-6dIfJ9/s1600-h/smolinski_treeturbinerestst.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 225px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcwE2NpGXTKfNwI5ebMH5dWNMGGXm1hd4MCLiljdgeVy6-zgs-AVT3dALeUDhEaXkgP6i_FVOLUI6IAB_H_ICzer5D1-QbgvqEAXQTL8QYpE3z2w5IGwlgX57DTk4iDha5pbvmL-6dIfJ9/s400/smolinski_treeturbinerestst.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5446254795983191538" /></a><br />Still from Tree Turbine Study (Rest Stop). 2007. mixed media. <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEE_FooketUH3TGdL8M2rIjTiluzlbx1TtZnA3go77xu3hhHOQTlkHWhF-j0MJUWGIODY14X2VBUCgMZrGhOHz5LmxtDZOo2h4LBGprTc7g0EcG_RTaKdTkZOrOsOdDuv6U8NOQDkygDDi/s1600-h/312vmfc.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEE_FooketUH3TGdL8M2rIjTiluzlbx1TtZnA3go77xu3hhHOQTlkHWhF-j0MJUWGIODY14X2VBUCgMZrGhOHz5LmxtDZOo2h4LBGprTc7g0EcG_RTaKdTkZOrOsOdDuv6U8NOQDkygDDi/s400/312vmfc.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5446254789018968210" /></a><br />Temple. 2008. Graphite on Paper. 11 x 14in<br /><br />Joseph Smolinski is from the midwest, he went to University of Wisconsin River Falls and he received his MFA at University of Connecticut. <br /><br /><br />What i like and want to take from his work is the environment aspect of the landscapes that he presents. Many of his artworks revolve around the idea of reusable energy and the landscape that it is depicted in. His illustrations show the blending of earth, science, and technology. He uses the idea of a "Frankentree" a tall deformed tree that has been inhibited with technological objects and features. The inspiration for this work was when he saw a cell tower that had been changed to take on the appearance of a tree, as if it would help rather than harm the natural beauty of the landscape. I feel that there's a hint of that in my work, whereas many of the ramps and trail markers that i photograph take on the natural aesthetic as to blend in with the region it's being photographed in. I still haven't determined how politically inclined, if at all, my work is going to be. I feel that there could be an element added to it to make it political and environmental, but I also feel that it could contaminate the work and that it really isn't about how destructive the manipulation of the landscape of these trails are, but rather about the shared aesthetics and architectural and sculptural elements that lay in wait in these landscapes.<br /><br /><br />Quotes:<br /><br />"the project...is more about the human relationship to nature as spectacle. We tend to have more fixed ideas about what 'natural' means than we are willing to admit, and we seem to put natural and unnatural on opposite ends of a continuum. But I am trying to poke at the way that the spectacularly natural almost turns fake - it's like a loop coming full circle."<br /><br />-Nina Katchadourian<br />Badlands: New Horizons in Landscape.<br /><br />"The land itself is in question. Power and politics trail in landscape's wake, because land itself is never un-ideological - at least not once humans begin to take its measure....Cicero called it "second nature," nature transformed by the human hand."<br /><br />-Ginger Strand. (Essay) At the Limits: Landschaft, Landscape, and the Land<br />Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print.<br /><br /><a href="http://www.josephsmolinski.com/">Website</a><br /><a href="http://www.lexleifheit.com/2008/05/16/art-agenda-joseph-smolinski-badlands-at-mass-moca/">Interview</a><br /><a href="http://www.mixedgreens.com/artweb/html/ArtistResults.asp?artist=93">Gallery</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com1tag:blogger.com,1999:blog-4646797669747360547.post-61840093876707701832010-03-05T10:31:00.000-08:002010-03-05T10:39:13.315-08:00Idea<span style="font-style:italic;">Luck be a lady, Tonight</span><br /><br />Is a random idea I came up with. possible eventual project, i just felt that i needed to write it down somewhere. The project <span style="font-style:italic;">Luck Be A Lady, Tonight</span> is that a get a huge road map of America. Huge, the size of a wall. I then blindfold myself and throw a bunch of darts at the map. Marking the space that the darts hit, i will then map out a journey to pursue all of those landmarks. I will document and photograph the landscape/cityscape/socialscape/wastescape (etc.) of these places and create a cultural mapping of America through the chance of being hit with the darts. I use the terms "luck" and "chance" to embody the American dream, of hitting it big by chance and getting lucky to financial gain and wealth.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-55258379448814419742010-03-04T19:38:00.001-08:002010-03-04T19:42:48.129-08:00Goals for the WeekMy goals for this week are plain and simple...<br /><br />-I must edit more of my photographs<br />-not get sick again<br />-Print, print, print, print, print!<br />-Prepare my defense for the reviewJPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-69976597474875771512010-03-04T05:44:00.000-08:002010-03-04T06:15:51.525-08:00Mapping a City (Article)<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2aB5SY_kSJXPCfMQk2ewFqKAx5RndnU9hccvCCtk8SmCtI3IACKLYXxvGisUKmGtbIUbRrMqQuByH3UHN5nwtoReS37GmjfMQwTTmtRg_bb9lsG5ZtOEWwXdb7aLEkQhrc5fGc0Wze1FD/s1600-h/23981_654384805817_37613334_36658212_3577518_n.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2aB5SY_kSJXPCfMQk2ewFqKAx5RndnU9hccvCCtk8SmCtI3IACKLYXxvGisUKmGtbIUbRrMqQuByH3UHN5nwtoReS37GmjfMQwTTmtRg_bb9lsG5ZtOEWwXdb7aLEkQhrc5fGc0Wze1FD/s400/23981_654384805817_37613334_36658212_3577518_n.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444776482424575506" /></a><br />Snapshot of Williamsburg, Va at a Freedom Park Bike Trail<br /><br />Mapping<br /><br />"As maps depict a representative space, its prevailing conditions and knowledge concerning space, and also incorporate an authorial standpoint as well as political, religious, cultural and facultative elements, the relationship of societal and spatial structures really is compelling."<br /><br />-Nina Möntmann (in the article "Mapping. A Response to a Discourse.")<br /><br />This is pointing out the potentials that lay in wait for mapping and art. I think that the author is trying to point out that the map is much, much more than just a map. It's a system of sustainability that can incorporate a vast amount of knowledge. Mapping is not just for roads anymore, it's for political, spatial, religious, and cultural uses. It is pushing for us to continue to blur the lines between the everyday road map and art. We need to further pursue the art of mapping in all genres of art. <br /><br /><br />"They [maps] generate the concepts of a social space open at its edges to subjective and subversive appropriations that reflect social realities and can create new ones. The strategy of mapping, in art as in other disciplines, thus has political potential that needs exploiting."<br /><br />-Nina Möntmann (in the article "Mapping. A Response to a Discourse.")<br /><br />This is a summation of the article pretty much in my opinion. Art and mapping have long been at opposing sides, reaching for different potentials, but as i feel mapping and art can be conjoined. The two need to be inter connected. Due to the prevent use of media and computer mapping these days and everyone's need to know exactly where they are at all times of the day, mapping is necessary to its and art's potential. The author is calling for us as artists to exploit the powerful nature of visual data, that being the map. It is political, ecological, geographic, and so many other things. Mapping is a cultural thing, it;s how the world became the world. Through mapping we have the ability to create visual meaning through data we collect and document the journeys that we lead.<br /><br /><br /><br /><br />Möntmann, Nina, and Yilmaz Dziewior. Mapping a City. Ostfildern-Ruit: Hatje Cantz, 2004. Print.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-34571513705262572462010-03-01T05:01:00.000-08:002010-03-04T05:43:53.836-08:00Frank Thiel<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2bRHqnl_zHHglRuUY7Cuaw_cNPwVAagZN8X8JiLGqfrirx0KIounh1cHSkqgIXgDJw-X70W7J0F2EsHRl9nAdrLMnyejm2lNTQzApikkNaEJb0n-ciysce9CpA76C4-NrQ5WzWaKx9D9/s1600-h/artwork_images_140199_158948_frank-thiel.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 258px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq2bRHqnl_zHHglRuUY7Cuaw_cNPwVAagZN8X8JiLGqfrirx0KIounh1cHSkqgIXgDJw-X70W7J0F2EsHRl9nAdrLMnyejm2lNTQzApikkNaEJb0n-ciysce9CpA76C4-NrQ5WzWaKx9D9/s400/artwork_images_140199_158948_frank-thiel.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444762910714748818" /></a><br />Stadt 7/12 (Berlin). 1999. C-Print. h: 112.5 x w: 257.4 in / h: 285.8 x w: 653.8 cm <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFC5GfpkpqOxYvAre0c-7dn5lEmqc-njfOlAMBPCpPxB4mIlLfEfX0C-4vfD51GAhBB9aWeBNCSAOVYT0evmS04pCHAT2BjYHL97gOINdIBkPUL5inSSon78QSXXWLn8Uf2RFBFlWbWbr4/s1600-h/artwork_images_140199_430010_frank-thiel.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 263px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFC5GfpkpqOxYvAre0c-7dn5lEmqc-njfOlAMBPCpPxB4mIlLfEfX0C-4vfD51GAhBB9aWeBNCSAOVYT0evmS04pCHAT2BjYHL97gOINdIBkPUL5inSSon78QSXXWLn8Uf2RFBFlWbWbr4/s400/artwork_images_140199_430010_frank-thiel.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444762908124348242" /></a><br />Stadt 10/06/A (Berlin). 2001. C-Print. framed: 71 x 107-7/8 inches (180.3 x 274 cm) <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6SmK3xeA106WdM19PLtds9UIDyF8KImaZXzgu1_EKs2oG3PqNHxj_IQZRkBytxmMSvDaxiX1JkH0kd8h_RIFVKC1pP4B3_Yk4o-V8o5LVZc7dA69ptpuI4lw6OQpLGAHgVqobF83ViZ3b/s1600-h/artwork_images_105146_144089_frank-thiel.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 367px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6SmK3xeA106WdM19PLtds9UIDyF8KImaZXzgu1_EKs2oG3PqNHxj_IQZRkBytxmMSvDaxiX1JkH0kd8h_RIFVKC1pP4B3_Yk4o-V8o5LVZc7dA69ptpuI4lw6OQpLGAHgVqobF83ViZ3b/s400/artwork_images_105146_144089_frank-thiel.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444762902228787634" /></a><br />Stadt 5/20/C (Berlin). 2000. h: 190 x w: 175 cm / h: 74.8 x w: 68.9 in C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbGCVQXDGWH9xqhoOXjRkv4rpP0vkDW5VvoP2upOYLuj7dW71AJvHqNoynC0FvtWTaRizElZaCG8GZYV32OG8sET54i32ipB8hJgWsbN0tWg-FEdVIyX-qCdKVXr6gCVj0xp59-o0MaB3z/s1600-h/artwork_images_140199_497618_frank-thiel.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 278px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbGCVQXDGWH9xqhoOXjRkv4rpP0vkDW5VvoP2upOYLuj7dW71AJvHqNoynC0FvtWTaRizElZaCG8GZYV32OG8sET54i32ipB8hJgWsbN0tWg-FEdVIyX-qCdKVXr6gCVj0xp59-o0MaB3z/s400/artwork_images_140199_497618_frank-thiel.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444762899691667058" /></a><br />Stadt 13/06 (Berlin). 2007. C-Print h: 97.2 x w: 71.6 in / h: 246.9 x w: 181.9 cm <br /><br />Frank Thiel was born in 1966, around Berlin, in the town of Kleinmachow. He eventually moved to West Berlin in 1985. There he attended a college for training in Photography from 1987-1989. For many years now, Frank Thiel has been photographing and documenting Berlin, and its constant state of changing and flux. There in Berlin, ever since the fall of communism there has been constant reformation of the land and space that the city surrounds. The West's influence is great and development and growth have been key contributors to the success of Berlin after WW2. His work is described as a sort of architecture in transition. The formation of this new architecture allows a new political space to permeate throughout the city's structure. The photographs seem to point towards change, a rebuilding of life, a much more contemporary life. While pretty much all of his photographs are of Berlin, some of his other works are photographs of walls in abandoned industrial complexes. These walls become architectural spaces and seem to transcend photography into a realm of abstract expressionism. (Much like the work I had a year ago).<br /><br />I chose to use his work for many reasons. I enjoy the presentation of space that he photographs. These spaces are familiar to him because of their proximity to Berlin and his familiarity to them. Though my work is not about familiarity, i feel that If i could keep up with the environments that i photograph, and really get a feel for them and a definite understanding of that space, i think that better photographs would naturally come to me. Although i do believe that upon entering a space for the first time, you may get better results, due to the viewer entering these spaces for the first time have a heightened sense of awareness and are more prone to responding quickly to new environments. When finding out about this artist, initially i was slightly saddened. I had though to myself, "Where was this guy a year ago?" This work would have tremendously helped to look at last year for my abandoned spaces project. Oh Well, C'est la vie.<br /><br />Quotes:<br /><br /><a href="http://www.artnet.com/Magazine/reviews/robinson/robinson2-11-02.asp"><br />"the new German capital's astonishing building frenzy in midstep -- fields of rebar awaiting concrete, huge networks of steel pipe, dense webs of scaffolding, and a giant, four-panel picture of Potsdammer Platz under construction, all under a bright gray sky."</a><br /><br /><br /><a href="Social Sculpture. Under this title borrowed from Joseph Beuys, we gathered installations, photographic series and videos which critically dealt with themes related to various aspects of the "given" post-Communist realities, be they social economy, religion, race, nationalism, the "nouveuax riches" (new bourgeoisie) and the "nouveaux pauvres" (new poverty), consumerism and the impact of mass media.">"Social Sculpture. Under this title borrowed from Joseph Beuys, we gathered installations, photographic series and videos which critically dealt with themes related to various aspects of the "given" post-Communist realities, be they social economy, religion, race, nationalism, the "nouveuax riches" (new bourgeoisie) and the "nouveaux pauvres" (new poverty), consumerism and the impact of mass media."</a><br /><br /><br /><br /><a href="http://www.skny.com/artists/frank-thiel/">Website</a><br /><a href="http://www.skny.com/artists/frank-thiel/images/">Gallery</a><br /><a href="http://dlkcollection.blogspot.com/2009/05/frank-thiel-new-work-kelly.html">Review</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-63448337627782123762010-02-28T20:07:00.000-08:002010-03-03T20:44:08.139-08:00Land<span style="font-weight:bold;">LAND</span><br />...And its use.<br /><br />Definition:<br /><br />an area of ground with reference to its nature or composition: arable land. <br /><a href="http://dictionary.reference.com/browse/land"><br /><br />http://dictionary.reference.com/browse/land</a><br /><br />I feel that "Land" is a topic that must be addressed due to the prevalence of what i am photographing in my practice. Land is the focal point of my studies, and its interpretation and use. My work becomes a document of a great and vast landscape that is in our modern day periphery, it's about the relation between the natural space that remains of our land and its mapping, use, structure, and its man made manipulation. I am focusing on the biking trails throughout our country, it's a vast collection of paths into the known and unknown. Many are built around state parks as a recreational activity and offer a juxtaposition of natural and altered beauty. The objects and spaces that I tend to photograph are primarily in heavily forested and relatively mountainous areas, away from the daily grinds of modern life. They suggest a sublimity, but also question the use of our "natural" space. The way I've been viewing these areas of land use is in a mainly neutral way, not condemning or justifying them in anyway, but rather documenting and allowing us to truly interpret the many uses of the land we've come to call our own. The photographs are devoid of people, allowing us to decipher the trails we create through our natural landscape.<br /><br />"By blurring the lines between art and activism CLUI are able to draw to draw in diverse communities and get them to collectively think about the ways in which the land is being used and abused, stressing the cultural implications of such misuse."<br /><br />-Denise Markonish<br />From the article <span style="font-weight:bold;">"Manifest Destiny to Global Warming: A Pre-Apocalyptic View of Landscape"</span> in the book <span style="font-weight:bold;">"Badlands: New Horizons in Landscape"</span><br /><br /><br /><br />Alexis Rockman (painter)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumUs58rXCNCk7i11wWMr_oSiuCQwvARMupjskAN-9_O0TAIWdtOVvN0dJSsFd1J7OR54Ik7aSNK13Nzv9piUDXV1U03dJ1UoNTMpVyQ2Pdv8hitoDvuoj3-1UQgjxKu26HOMFo1e6-D8z/s1600-h/15195.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 276px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumUs58rXCNCk7i11wWMr_oSiuCQwvARMupjskAN-9_O0TAIWdtOVvN0dJSsFd1J7OR54Ik7aSNK13Nzv9piUDXV1U03dJ1UoNTMpVyQ2Pdv8hitoDvuoj3-1UQgjxKu26HOMFo1e6-D8z/s400/15195.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444474429226657650" /></a><br />South (panel 1) 2008 Oil on gessoed paper 77 x 53 inches<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGXiv4ghk4Yu2iSJgV0GU5qh2DWl2G4_PVZwAroGdyqmN6wp-M8mB_u7lp-_5Wr23xnxjTxKXM-YgC-6kT2uiH6lHCq3suFhL8SEx38IR94jmGEe8PO7fZAX5_3IBhhXOCLUmILLSKgo_/s1600-h/15194.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 271px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgGXiv4ghk4Yu2iSJgV0GU5qh2DWl2G4_PVZwAroGdyqmN6wp-M8mB_u7lp-_5Wr23xnxjTxKXM-YgC-6kT2uiH6lHCq3suFhL8SEx38IR94jmGEe8PO7fZAX5_3IBhhXOCLUmILLSKgo_/s400/15194.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444474424082731826" /></a><br />South (panel 2) 2008 Oil on gessoed paper 77 x 53 inches<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSHK2P0DRETFniO_4skp3xgfqAQD25buemtweqe3oJ1-IKvWbMUi7-ZOPOO5oj0RMSiX_sUHCLC17x-iDnVFpxpuNpxIWxvXN6523VMwbk6FHgcNi0CjbEwX3Oc8g1USUjpCWX_wSruf8/s1600-h/15036.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 82px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSHK2P0DRETFniO_4skp3xgfqAQD25buemtweqe3oJ1-IKvWbMUi7-ZOPOO5oj0RMSiX_sUHCLC17x-iDnVFpxpuNpxIWxvXN6523VMwbk6FHgcNi0CjbEwX3Oc8g1USUjpCWX_wSruf8/s400/15036.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444474421529967442" /></a><br />South. 2008. Oil on gessoed paper. 75 x 358 3/4 inches<br /><br /><br />Alexis Rockman is an artist living and working in New York City. He recieved his BFA from RISD and his MFA from School of Visual Arts.<br /><br />I chose Alexis Rockman and his his work on Icebergs in Antarctica because I love the representation and attention to detail that is presented in the paintings. Rockman used some contacts of his to make this journey possible, he took a 12 days exploration to the Antarctic and primarily used photography as a note taking device, he really wanted to do something different with his art, and realized that these icebergs are rarely documented as an art form, and the artists previous to him only primarily did anthropological sketches. The idea for the panoramic and under and oversea viewpoint was his realization to create these pieces. These were ways of presentation that hadn't been used yet. Within these works he reveals to us a grandiose landscape that is under much scrutiny in modern times due to the principles of global warming. Even just a few days ago i had heard about huge blocks of ice ready to break off the barren continent. This work brings a visual depiction and awareness that is rarely seen by any; these works are to inform his viewers about the on going dialogue that is global human behavior/effect and the natural landscape and beauty that exists in our world.<br /><br />Review:<br /><br /><a href="http://www.boston.com/ae/theater_arts/articles/2008/06/13/an_inconvenient_truth_in_alexis_rockmans_work/">Unlike the more illustrative paintings from earlier in his career (he once worked as a columnist and illustrator for Natural History magazine), this recent work makes you want to grope for words like "bravura" and "tour-de-force." But in emotional tenor, these paintings - referred to by the artist as his "weather series" - are almost impossible to tell apart.<br /><br />Rockman has a reputation as an activist in the fight against environmental desecration: He made a huge splash in 2004 with a giant painting of New York as it might look (mostly submerged) a millennium from now. But in an interview published in the show's catalog, he expresses a desire to free himself from the burden of being labeled an artist-advocate. Now, he says, he's thinking much more about "painterly opportunities."<br /><br />Rockman gives over the largest part of most of these works to descriptions of dra matic natural phenomena. The idiom recalls both the painterly vigor of Abstract Expressionism and the feeling for the sublime in J.M.W. Turner's late work. The virtuosic paint handling is constantly breaking free from mere description and taking on a life of its own. Thus the artist evokes the volatility of extreme natural phenomena, along with their potential for mind-cracking beauty.</a><br /><br />-Sebastian Smee <br /><br />From the Article "<span style="font-style:italic;">An inconvenient truth in Alexis Rockman's work</span>" From the Boston Globe by Sebastian Smee . June 13, 2008<br /><br /><br /><br />LAND, N55<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUE0K2IKkV9Pb4WmBcxZrKeg5pJT5Z0RFmVaw2GRukaz_aLvdwlgsifSf0NBMnaOgQ8QyzqkGMJYSI0DllfeMpxV2PhMvYEmE8voC_-LkTP7g2-fagy2gKly_eaMEiHhsCVQaJc-D51NXD/s1600-h/LANDChicago.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUE0K2IKkV9Pb4WmBcxZrKeg5pJT5Z0RFmVaw2GRukaz_aLvdwlgsifSf0NBMnaOgQ8QyzqkGMJYSI0DllfeMpxV2PhMvYEmE8voC_-LkTP7g2-fagy2gKly_eaMEiHhsCVQaJc-D51NXD/s400/LANDChicago.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444486995499116178" /></a><br />Position: N 41° 53' 03,4" E 087° 46' 06,8". Area: 160 m2. Chicago, USA.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrtPimp6C54aDNAMCvPafQMXBGeUPjMrSdf6_tV1cM-GT37E3pfXb7VP745uxVRHWtEsiITyO9V810YJzpwUsU9ms847on9zHjzO1TPQfrWGrwXGQepSUntEi0PGCUXPT9NgjeUtPVdEI/s1600-h/LANDlesarques.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrtPimp6C54aDNAMCvPafQMXBGeUPjMrSdf6_tV1cM-GT37E3pfXb7VP745uxVRHWtEsiITyO9V810YJzpwUsU9ms847on9zHjzO1TPQfrWGrwXGQepSUntEi0PGCUXPT9NgjeUtPVdEI/s400/LANDlesarques.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444486977384094082" /></a><br />Position: N 44° 36' 03,2'' E 001° 15' 04,6''. Area: 1100 m2. Les Arques, France.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyc_0MzGYDs3wDvs4X9yhFne-Ndd3g4vVduAVwc4oWF33rNOpngBYLFBE4tDnHQp9IlOHLWn1Uc7CUhhwehFKBznXiMiPfFTU4AnkObm-XeXsO-ooEv5tebXdBQqw8C_GLeUeKGWhaINT4/s1600-h/LANDpau.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyc_0MzGYDs3wDvs4X9yhFne-Ndd3g4vVduAVwc4oWF33rNOpngBYLFBE4tDnHQp9IlOHLWn1Uc7CUhhwehFKBznXiMiPfFTU4AnkObm-XeXsO-ooEv5tebXdBQqw8C_GLeUeKGWhaINT4/s400/LANDpau.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444486970673928434" /></a><br />Position: N 43° 17' 48,1'' E 000° 22' 21''. Area: 400 m2. Pau, France.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh77L7Xw89wQaV94mxDdfCaT-iqWFxWQ90SeLugslFRILN5a8DqmUahZRNX9oggS69jZDdYDOgdBiYkDMF6VFfNVlv68BiNYMG77VssL_tS_yJowJ0_-nLHGH3umRJcENjfHTpv-Hqvs4S/s1600-h/LANDsaeby.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 245px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgh77L7Xw89wQaV94mxDdfCaT-iqWFxWQ90SeLugslFRILN5a8DqmUahZRNX9oggS69jZDdYDOgdBiYkDMF6VFfNVlv68BiNYMG77VssL_tS_yJowJ0_-nLHGH3umRJcENjfHTpv-Hqvs4S/s400/LANDsaeby.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444486954052375714" /></a><br />Position: N 57° 20' 04,5" E 010° 30' 56,5". Area: 160 m2. Sæby, Denmark.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCECG62o4_Q4dAHeGOuuJ4RnLEFbFsKm2EcJVhBM4xKb-lFTD2h-P8gtmP6XmOexxzxfdDFjz8Axd7ZkRspj4KPY86chhGvUDMR-fVzYFUSPIQg4-N51VxBdgDAILk1LGKfCQ-dypgZh1/s1600-h/LANDvarde2.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 290px; height: 295px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzCECG62o4_Q4dAHeGOuuJ4RnLEFbFsKm2EcJVhBM4xKb-lFTD2h-P8gtmP6XmOexxzxfdDFjz8Axd7ZkRspj4KPY86chhGvUDMR-fVzYFUSPIQg4-N51VxBdgDAILk1LGKfCQ-dypgZh1/s400/LANDvarde2.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444487638682596130" /></a><br />Cairn:<br /><a href="http://www.n55.dk/land.html">All parts of LAND are marked with a cairn (height 1 m). The cairns have a frame of stainless acid resistant steel and built-in tanks of PE-plastic. The tanks are equipped with a transparent lid of polycarbonate, tightened with rubber strips.<br />There is a manual and other equipment in the tanks. Apart from this, the configuration and size of the cairns will be modified according to the sites and their requirements.</a><br /><br />What I am interested in about LAND is the ideas that are presented with their geographical locations and the use of mapping, cartography, property, communication and public use of the land. The primary point of LAND is "to create situations with a concrete and fundamental significance to daily life, which at the same time have aesthetic and ethical consequences." This allows LAND to allow people to use private space and make it public by the mere use of decision. This idea to me and I feel to others is a hard concept to grasp. The terminology that LAND uses at times can confuse, but I feel it's very to the point. The land that is selected and allowed to be used as a public space reveals questions of what cities, towns, countries use for private and public space. A Dialogue occurs when viewing said spaces and we the viewer can accept and examine these places.<br /><br />Review:<br /><br /><a href="http://www.scribd.com/doc/10998926/Week-2"> N55 formed in 1996 when its six members chose to share their living space in Copenhagen. Their rst show at the Louisiana Museum of Modern Art in 1996 consisted of “…a table and chairs, a pot plant, a jug of orange juice, their own manifesto and a photocopier which visitors were invited to use.” (Lock) Described by Lars Bang Larsen as “domestic Situationism,” N55’s projects consist of re-creations of items used in every-day life, such as living spaces, furniture, washing systems, and food cultivation systems re-worked from the viewpoint that humans share equal rights to property and the necessities for living. For every object N55 designs, they also write a manual describing in detail how to manufacture it, distributing the manuals free of charge from their website www.N55.dk. In addition to the manuals, N55 posts writings regarding their philosophies, <br />interviews they’ve had with other artists and critics and pieces of music to be played while reading the various manuals and discussions on this site. <br /><br /> In her article Systemic Inexhaustion, Nana Last explains how N55’s work extends beyond the reductive logic of earlier conceptual work by artists such as Sol LeWitt through their use of internet distribution. She states, “Dissemination of these ideas and distribution of the procedures for their construction are essential compo-nents of the work itself, so that information systems are as much a site of production, inquiry and life support as are the physical units that form the various modules of inhabitation.” (Lake 118-119) Through dissemina-tion, the works can be re-built, and also changed by builders, allowing the pieces to take on lives of their own.<br /></a><br /><br />-Katy Asher<br /><br /><br />Isabelle Hayeur<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-HGLzdVhF03qvkG8EJ796NoEZFft8Aztrfygtwg88QgiDO9SjosYex5QnEWmuFnn3wwIMJcM9z-Nvvm71w1Id_fKROiapnKlmoMnq6ZaaIQ0JgVJxa9SLvT61dv4NrPb9oZApHGiQkWI/s1600-h/au-seuil-de-la-nuit.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 145px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7-HGLzdVhF03qvkG8EJ796NoEZFft8Aztrfygtwg88QgiDO9SjosYex5QnEWmuFnn3wwIMJcM9z-Nvvm71w1Id_fKROiapnKlmoMnq6ZaaIQ0JgVJxa9SLvT61dv4NrPb9oZApHGiQkWI/s400/au-seuil-de-la-nuit.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444501815021807698" /></a><br />Au seuil de la nuit 2004 49" X 136" C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKvnxsKKFLfnLy70NnHIbf9Oi-kLEO-W0FNZ6bYYGanUR4Ub3jxM2f8TKmRhxAY08RrTwtsvmSfdmkm5n6fRfbHbLDC3OvHdgC2Uglb4IBHzBpFaH29LNLsH5DG81rgj3Dy-Y0V6vkf6OS/s1600-h/jour-nuit.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 371px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKvnxsKKFLfnLy70NnHIbf9Oi-kLEO-W0FNZ6bYYGanUR4Ub3jxM2f8TKmRhxAY08RrTwtsvmSfdmkm5n6fRfbHbLDC3OvHdgC2Uglb4IBHzBpFaH29LNLsH5DG81rgj3Dy-Y0V6vkf6OS/s400/jour-nuit.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444501808230369090" /></a><br />Jour de nuit 2006 60" X 64" C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZkp0hyphenhyphenIlKxh1sNWALwqiBsWE2J3y87aIr3Lm9TZWCDSk0k2fh1FpEosnk78ujYPvtzgP3GA2F6wCAtYvlPIQkOQ-KrK9ioZ5Nr0UNfLuLYzJUaVvH2qFmtgGk-saBfddy0h-Ka08m-imb/s1600-h/ravage.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 173px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZkp0hyphenhyphenIlKxh1sNWALwqiBsWE2J3y87aIr3Lm9TZWCDSk0k2fh1FpEosnk78ujYPvtzgP3GA2F6wCAtYvlPIQkOQ-KrK9ioZ5Nr0UNfLuLYzJUaVvH2qFmtgGk-saBfddy0h-Ka08m-imb/s400/ravage.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444501806280463794" /></a><br />Lot 2008 41" X 96" C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRL5e37RkfoGY9BQKUVdWPUSP_Z_Q4Br6j2uQ_jEEIxhZomcY3pLoPAky8jPP0ZcAdDmtaGOeZ-1Dm5TjAeEKP0rl6fqbOdAQi8BL-FqmGuD3xQHQXviqFJVILwukqYHdUp_idKmxUNDyT/s1600-h/untitled.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 71px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRL5e37RkfoGY9BQKUVdWPUSP_Z_Q4Br6j2uQ_jEEIxhZomcY3pLoPAky8jPP0ZcAdDmtaGOeZ-1Dm5TjAeEKP0rl6fqbOdAQi8BL-FqmGuD3xQHQXviqFJVILwukqYHdUp_idKmxUNDyT/s400/untitled.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444501794093646946" /></a><br />Untitled Legacy 2007 30" X 169" C-Print<br /><br />The Spaces that she examines are contemporary landscapes that have seen major and quick moving changes throughout the last few decades. The mobility of our culture (both physical and through media) and its affects on land have rapidly reconfigured the use of our territory. These spaces are in a constant state of changing in the Americas and the continuing political measures of capitalization continue the ever present segregation and use of private lands. I focused on her, because she is focused on the manipulated landscape and the ever changing ideas of the land. The use is also an important tool that she examines in her work. It also focuses on the degradation of the land in natural and rural areas as well, something that my work focuses on too. <br /><br />A quote from Her artist Statement that I like the most:<br /><br /><a href="http://isabelle-hayeur.com/photos/nuit_americaine/index.html">"The strong contrasts found in these compositions and the struggles that light and shadow seem to be engaged in evoke the power relationships involved. In these Nuits , we can see the consequences of the crumbling of the founding values of our societies, and perhaps also the end of a certain “American dream.” They bring together a few viewpoints culled from these “territories of shadow.”"</a><br /><br /><br />Full Artist Statement<br /><br />These images come from a series that begun in 2004 and is still in progress. The pieces produced to date take a fairly wide variety of forms, including panorama, architectural photography and indoor scenes. Their source is urban landscapes in Canada, the United States, Mexico and Argentina. They depict the changes that are occurring at the same time throughout the Americas in today's context of a global economy. These transformations are reshaping our territories and everyday life.<br /><br />This investigation broaches many indissociable questions. Some of these issues relate to the growing economic disparities and social divisions; others refer to the relocation of the economy and to contemporary forms of urban segregation (like the creation of free trade zones or gated communities). They also tackle the degradation of natural and rural areas. These works thus define a certain current political horizon. They show us working-class neighbourhoods undergoing “gentrification,” business districts, poverty-stricken neighbourhoods, outcasts, run-down apartments and threatened natural areas. These disturbing landscapes reveal the results of State policies of disengagement and privatization of public institutions. We are gradually witnessing a change in the political scene, where multinationals are tending to become societies' key players, with their development strategies having an increasing effect on our daily lives. The metaphor of twilight is used to suggest the many losses stemming from this prospect. The strong contrasts found in these compositions and the struggles that light and shadow seem to be engaged in evoke the power relationships involved. In these Nuits , we can see the consequences of the crumbling of the founding values of our societies, and perhaps also the end of a certain “American dream.” They bring together a few viewpoints culled from these “territories of shadow.”<br /><br />-Isabelle Hayeur<br /><br /><br /><br />Anthony Goicolea<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGHuiI_fH39q2TFaNBbRJxpsX-z4qJNrJoLpjwgMsTQagaCGKkr4E1DBsQTbcu-EoQr18yiSTJ3nVge4Q9d8a-By7BZP9uHttbmkX2ECQlDAlLw3k2kLvVe5AzAdAJEVHCbEtkKZ_bYM-/s1600-h/corn.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 110px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsGHuiI_fH39q2TFaNBbRJxpsX-z4qJNrJoLpjwgMsTQagaCGKkr4E1DBsQTbcu-EoQr18yiSTJ3nVge4Q9d8a-By7BZP9uHttbmkX2ECQlDAlLw3k2kLvVe5AzAdAJEVHCbEtkKZ_bYM-/s400/corn.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444509445815106866" /></a><br />Anthony Goicolea | CORN FIELD | © 2002 | 22 x 78 | Ed. 1- 9 C-Print<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQuLTY2HYCNdHWRBUAUrAj8x3ioa24SRUezWVFNjgcfhRPHMvsVBq5R-aysGSwoDr71AaHtSjtB2bO5h1nhdccga6abpOXZSoVk_Bv-WigjmeWNOdvWgIkTqgNIUm9ABqacUaLxBt0XsNH/s1600-h/snowscape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQuLTY2HYCNdHWRBUAUrAj8x3ioa24SRUezWVFNjgcfhRPHMvsVBq5R-aysGSwoDr71AaHtSjtB2bO5h1nhdccga6abpOXZSoVk_Bv-WigjmeWNOdvWgIkTqgNIUm9ABqacUaLxBt0XsNH/s400/snowscape.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444509442117761618" /></a><br />Anthony Goicolea | SNOWSCAPE | © 2003 | 27 x 27 | Ed. 1- 30 C-Print<br /><br />What I like about Goicolea's work in his landscape series is that there is no person present in these monumental images, yet there's obvious signs of human activities and presence. He recreates a narrative through past tense using props, staged sets, and theatrical implications in his photographs. Much of my work is without the presence of human life, but there is the presence of human activity. It can be seen in the built up ramps, tracks through the land, and the manipulation of the landscape. I am looking at his work about the developing of a narrative through these post active landscapes. Although my work isn't very narrative based, there's ideas and thoughts that i would like the viewer to pick up on. The use of the land and its manipulation is the primary focus though. But, the past history and action are all main players in the dialogue that is put in front of the viewers in my work and I would like to make more strides to help engage the viewer like Goicolea.<br /><br />Artist Statement about Landscape Series:<br /><br />While working on my "Multiple Self-Portrait Series," I became increasingly interested in the locations, sets, and installations I was constructing during production of my photographs. The uniform clad figures in the series evolved into autonomous universal stand-ins for the idea of adolescence and began to play a secondary role to the environments which inspired their actions and with in which they existed.<br /><br />Influenced by the tradition of nature and the sublime in early and mid 19th century american landscape paintings, my series of landscape photographs treat their environments as hyper exaggerated frontiers in which remnants of past human interaction are evident through left over traces of people and their activities.<br /><br />The scenarios often resemble what many of my previous sets and locations looked like after a full day of shooting. Many of the scenes are staged or constructed and then further altered through digital manipulation to create a world anchored in reality but predicated on fantasy, fairy-tales, fables, mythology and other narratives.<br /><br />Although most of the images are devoid of actual human presence, there is a strong sense of humanity established through the wake of their aftermath or in the mimicked behavior of the animals portrayed in each photograph. In "Molting" a forest is rolled in toilet paper as three deer lay witness to the left over high school prank which emulates the hanging scraps of velvet shedding off their antlers. Two abandoned cars and stacks of suit cases filled with school uniforms clutter the foreground of a farming plantation at sunset in "Corn Field". The pastoral landscape displayed in "Cherry Island" is over run by a crowd of birds, ducks, and rabbits in a sicky-sweet, glaringly artificial, idyllic garden scene.<br /><br />Distorted cinematic proportions play off the horizon line and lend a physical element to the construction of the photo. In "Snowscape," a 60 foot long scene forces the viewer to walk down the length of the photograph to read the image in its entirety. The scene melds three frozen and barren landscapes into one unified winter narrative punctuated with animal skins, snow balls, footprints, clothes-lines, and pee stains. "Poplar Trees" uses its elongated format to convey a passage of time as twilight sets in on the tree lined plane.<br /><br />Within these landscapes, seemingly realistic environments provide physical evidence and visual proof of an ongoing past narrative. The photographs use the aesthetics and beauty inherent to nature and the sublime to create an exagerated pastoral scene which bares the imprint of time.<br /><br />-Anthony Goicolea<br /><br /><a href="http://www.anthonygoicolea.com/NewAnthonySite/pages/landstatement.html">http://www.anthonygoicolea.com/NewAnthonySite/pages/landstatement.html</a><br /><br /><br /><br />Jakob Kolding<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmsQJa8DunCQYkcZh28WOGXLdIzjqB0WYpH4AgZkkxwIX8DaLGUdABVN9wUsn3RH5kDrOAkPFV5jYXjMdS7-2IWjxGnzLcUl4YnJfoJvTV7g-QXoTA4AByE05XwyAonrnSg3z6kLSbQaPJ/s1600-h/spacedout.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 286px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmsQJa8DunCQYkcZh28WOGXLdIzjqB0WYpH4AgZkkxwIX8DaLGUdABVN9wUsn3RH5kDrOAkPFV5jYXjMdS7-2IWjxGnzLcUl4YnJfoJvTV7g-QXoTA4AByE05XwyAonrnSg3z6kLSbQaPJ/s400/spacedout.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444516235698348834" /></a><br />Untitled (Spaced Out?) (2001) Collage / Xerox copy 70 x 100 cm Unique <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ5TGcLGbwybiBhQwzWcmkMXz_1gRBoagTsM_lamgQtlHtrsFflrSYEPv4IVGx1NvOElyizf4RSf2o8q2hR8xkTl34f_min4idn8hEQ4NoRhbsCVFNf2aLUY8ym5SJxLnDhPY6YtySsIkj/s1600-h/untitled2001print.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 393px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ5TGcLGbwybiBhQwzWcmkMXz_1gRBoagTsM_lamgQtlHtrsFflrSYEPv4IVGx1NvOElyizf4RSf2o8q2hR8xkTl34f_min4idn8hEQ4NoRhbsCVFNf2aLUY8ym5SJxLnDhPY6YtySsIkj/s400/untitled2001print.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444516232869590578" /></a><br />Untitled (2001) Print 90 x 90 cm <br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaKCtqEJ1wj5tB9Xs1nqJiYfqkigwArU14Bq5sDV8V2GvWUMUzdUC7VrRfPbTiKIb8QSHuvUMVL0-rNj1_-Txl4XFCTS9ezMgkfl3-KrD4OfDTplNDeBYP9AbKmbEEBlONWP0PpJ0Q586/s1600-h/untitledauckland2004.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 280px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdaKCtqEJ1wj5tB9Xs1nqJiYfqkigwArU14Bq5sDV8V2GvWUMUzdUC7VrRfPbTiKIb8QSHuvUMVL0-rNj1_-Txl4XFCTS9ezMgkfl3-KrD4OfDTplNDeBYP9AbKmbEEBlONWP0PpJ0Q586/s400/untitledauckland2004.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444516226006994642" /></a><br />Untitled (Auckland) (2004) Poster 60 x 42 cm <br /><br />What drew my eye to Jakob Kolding's work is how he propaganda like posters to create an urban landscape that reflects upon social order, social space, and land use. He uses a very soviet constructivist aesthetic to create these collages and uses the poster, a long lived propaganda tool, to represent his work. His collages are mixed with by the harsh framework of city control and planning, he is at the mixing desk of urban representation. Although they aren't by any means a traditional landscape, they are a social landscape. They include much of what today makes us contemporary, the use of advertising, mass production, economics, and visual literacy. This in essence is the entire concept of landscape, it reveals more information about a certain place due to the use of all of those descriptors.<br /><br />Article<br /><br />Can't get it to copy and paste so here's the PDF of Jakob Kolding in ArtForum<br /><br /><a href="http://www.teamgal.com/production/689/JK-artforum07.pdf">http://www.teamgal.com/production/689/JK-artforum07.pdf</a><br /><br /><br /><br />Rula Halawani<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBDlQy_JRaXZS57mDHjK8BTR0bODAhX-qbs7e5RT6xMHW5MqK1xsJLEKscsuGDJmeyBH9o-1Wf7JTq6Z7ERmjvpaTgY2P3eLo3-ct8qqRsDEjh2XTbmZhl92luzp3ojtdczeKNc_Sr-31L/s1600-h/wall111.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBDlQy_JRaXZS57mDHjK8BTR0bODAhX-qbs7e5RT6xMHW5MqK1xsJLEKscsuGDJmeyBH9o-1Wf7JTq6Z7ERmjvpaTgY2P3eLo3-ct8qqRsDEjh2XTbmZhl92luzp3ojtdczeKNc_Sr-31L/s400/wall111.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5444531546367255730" /></a><br />The Wall 111, 2004. Series of 5 photographs Projected. Dimensions Variable<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz2WFjKlIP0EY7pnJ6rNbn3FnTH3VG8g2ZwyJ2wLwI6Hv3OAR2VarFhSzgVQO4NEUdCtIJzpi8QbRvJX95o9AXwN3rxxhrQPujLlZ5BOTDdeHfdodWB0YO9OTXMIo-mOUNFrnmJr10LYQd/s1600-h/wall56.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgz2WFjKlIP0EY7pnJ6rNbn3FnTH3VG8g2ZwyJ2wLwI6Hv3OAR2VarFhSzgVQO4NEUdCtIJzpi8QbRvJX95o9AXwN3rxxhrQPujLlZ5BOTDdeHfdodWB0YO9OTXMIo-mOUNFrnmJr10LYQd/s400/wall56.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5444531533132075490" /></a><br />The Wall 56, 2004. Series of 5 photographs Projected. Dimensions Variable<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzBqJaDKlV43-yxdC4R8NDdr4D3NF5nabsEQVE87bBcZO2ZM82sNmxy-N-PZ2hEEhqM0qKnG3OzWawUKfW69ub9Yk0wzot35hV81fkESkDlXc7dJjdsEuaAsiwhsN9eZvWzbRijSA7Af-/s1600-h/wall37.gif"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKzBqJaDKlV43-yxdC4R8NDdr4D3NF5nabsEQVE87bBcZO2ZM82sNmxy-N-PZ2hEEhqM0qKnG3OzWawUKfW69ub9Yk0wzot35hV81fkESkDlXc7dJjdsEuaAsiwhsN9eZvWzbRijSA7Af-/s400/wall37.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5444531524871361522" /></a><br />The Wall 37, 2004. Series of 5 photographs Projected. Dimensions Variable<br /><br /><br />What has me interested in Rula Halawani's work is how she is using the landscape as a document for social change. The Wall Series is about the construction of a wall in Israel that they call a security wall, while many call it an apartheid wall. The wall is a 72.5 Kilometer long, 8 meter high concrete barrier that cuts through the land near the Qalandia checkpoint. These images are very cold and sterile, a bleak look into a country that is still ripe with territorial disputes and much infighting. her work highlights the way "in which art is capable of capturing the lived experience in an accidental, unplanned, non-monumental urban environment that is struggling for its place on a map, suggesting without explicitly representing the intricate routes of movement that animate a space, fill it with life, but leave no trace, only an empty, trembling scene of impossible closure (P.174)." (Kaelen Wilson-Goldie, from the book "Ideal City - Invisible Cities")<br /><br /><br />Review:<br /><br />Halawani's series 'Irrational' presents us with wider vistas and panoramas that represent the transformation of landscape that has occurred with the building and expansion of Israeli settlements. In her photographs, Halawani imparts the sense of alienation in relation to the imposition on the landscape with road ways, settlements and the infrastructure for the Apartheid Wall. Taken on winter days while driving in her car, the photographs impart a sense of gloom, foreboding and oppression -- suggested both through the way she has captured the image and their perspective. The settlements always loom overhead, and through her photographs the sense of monumental change that one is unable to affect is suggested. Vis-a-vis the architecture of dominance the individual feels isolated and alienated in what was once a familiar landscape. Halawani's images are very much images of the 'everyday' landscape that Palestinian who are able to move from one location to another see. Settlements on the horizon have become a permanent feature of the Palestinian field of vision.<br /><br />Halawani is constantly engaged in representing the everyday transformation that occurs on the ground in Palestine. The accumulation of these images are a testimony to the details that become the fabric of monumental historical change which is occurring in Palestine.<br /><br />-Dr. Tina Sherwell<br /><br /><a href="http://www.arteeast.org/virtualgallery/apr05_halawani/arteeast-vg-halawani-3.html">Full Article Here<br />http://www.arteeast.org/virtualgallery/apr05_halawani/arteeast-vg-halawani-3.html</a><br /><br /><br />Kendell Geers<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMnRGQzCJR61G1QGfWCYMIkJlrHz-ZQSik8Vy2Q7xCBIKj9dRoE_9vsm1AozF3Bjx-XEtv6oM36c1ay-YB-Z42COXGTd9vQ2ORhFdxTBcmxeYTBz4AcZRs8kfEAYediJa9PwbtdqR-xvv/s1600-h/geers-1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 371px; height: 244px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeMnRGQzCJR61G1QGfWCYMIkJlrHz-ZQSik8Vy2Q7xCBIKj9dRoE_9vsm1AozF3Bjx-XEtv6oM36c1ay-YB-Z42COXGTd9vQ2ORhFdxTBcmxeYTBz4AcZRs8kfEAYediJa9PwbtdqR-xvv/s400/geers-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444541365092549010" /></a><br />Suburbia Installation View<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRZxKGLzGNpQs5sdrbgENM5tEb5wJbLMkaYgLTqvJErHzHjVgvdu_3Cw4uBAjG7YLbc2OYc1pEVz7cExcB6SvZ9PiGl8nnqqEadYfICWAtVX_yMOE5wW-1H_YyDScC29nAQrj_LtPemmU/s1600-h/geers-2-b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 262px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeRZxKGLzGNpQs5sdrbgENM5tEb5wJbLMkaYgLTqvJErHzHjVgvdu_3Cw4uBAjG7YLbc2OYc1pEVz7cExcB6SvZ9PiGl8nnqqEadYfICWAtVX_yMOE5wW-1H_YyDScC29nAQrj_LtPemmU/s400/geers-2-b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444541360609591906" /></a><br />From the Suburbia series, 1999. Cibachrome, 30.5 x 40.5 cm<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUmC7vaXV9mwjdOYB4rVGwqhuW74Pxnd2aOT6NbB9Sx5dF18KyVDBMHpc0LdD6SLGH9AbPDaVACjZDQ_fryFE6WhDr3hISK_PDUMHlr-L9osJuPe_XTqaPEh0QkQAbmpQTQyHI_ZV8VCt/s1600-h/geers-3-b.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 260px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUmC7vaXV9mwjdOYB4rVGwqhuW74Pxnd2aOT6NbB9Sx5dF18KyVDBMHpc0LdD6SLGH9AbPDaVACjZDQ_fryFE6WhDr3hISK_PDUMHlr-L9osJuPe_XTqaPEh0QkQAbmpQTQyHI_ZV8VCt/s400/geers-3-b.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444541358497585426" /></a><br />From the Suburbia series, 1999. Cibachrome 40.5 x 30.5 cm<br /><br />What drew me to Kendell Geers work is the similarity in the photographs that we take. I feel that there's a shared aesthetic between his body of work and mine. Conceptually though, I like the way he reveals this issue of security and private property in South Africa. These presentations the lengths of which people go to so they can protect their lands and homes from the unforeseen. These documents of security seem to be residual effects of apartheid and the segregation of the communities thereafter. He shows us a typology of these safety measures in South Africa and opens a dialogue up about how much safer those measures really make us.<br /><br />Review (in part):<br /><br />What is important about the tone and tenor of the questions that framed the Global Cities exhibition is that they were not didactic, and did not seem to shut down discussion and debate about global cities. The questions and statements, as well as the exhibition’s five themes – size, speed, form, density, and diversity – provided visual scaffolding for artists and architects to not only interpret these 10 cities, but also pose a number challenges for their futures.<br /><br />The exhibition not only locates Johannesburg within a network of global cities, but also positions it within a research framework that is about reading cities through pattern and recognition. There were two photographic projects representing Johannesburg: Kendell Geers’ Suburbia (1999), and the above-mentioned Jo’burg (2004) by Guy Tillim. Through these two bodies of work, the exhibition offered a fairly alienating view of South Africa’s largest city. An Antipodean visitor to the exhibition said of Geers’ photographs of suburban security in South Africa: “It’s a different world that we can’t even begin to relate to.” But then, this is probably a comment that many visitors made about cities on the exhibition that were very different from their own.<br /><br />The third issue worth considering in relation to research exhibitions is the changing face and identity of ongoing research exhibitions. When grappling with exhibitions that address themselves to a set of ongoing critical questions, there are at least two curatorial issues that need to be considered. The first is a possibility for exhibitions that can and should be pushed, and the second is a limitation in display that needs to be overcome. <br /><br />-Rory Bester<br /><br /><a href="http://www.citiesincrisis.com/pages/reviews_bester.html">http://www.citiesincrisis.com/pages/reviews_bester.html</a><br /><br /><br /><br /><br />The Center For Urban Pedagogy<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz-yvC3w2BF3rVLdGJYar8vYJjqEqcZAPmmPKYeu_sJlOr9le8Y8-ONMfJR-n8TJ7QbNATqMhWSuM3jRG8ZAehuWoTHq5tIScDcfJ-eF19JaxaG7biJT74VcXlBFGcVfgCbSWniFGg5lo/s1600-h/image.php.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 342px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsz-yvC3w2BF3rVLdGJYar8vYJjqEqcZAPmmPKYeu_sJlOr9le8Y8-ONMfJR-n8TJ7QbNATqMhWSuM3jRG8ZAehuWoTHq5tIScDcfJ-eF19JaxaG7biJT74VcXlBFGcVfgCbSWniFGg5lo/s400/image.php.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444553673769381922" /></a><br />The Cargo Chain, from the Making Policy Public Series. the Map highlights points in the North American transportation system that are vulnrable to activism by organized labor.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7iGbDRanlYYz4sENX1KEnsNrsogVktnXzhia3-XmJXnbt6xGwk4GdEwX-y8INEXj4qxypCUIILxl0TG8h3k7otvZWjXGV4WVPYW3Z82DGvNidAWbxrApMOSFWWIND-FjsaxGj0tMCm7uv/s1600-h/image1.php"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7iGbDRanlYYz4sENX1KEnsNrsogVktnXzhia3-XmJXnbt6xGwk4GdEwX-y8INEXj4qxypCUIILxl0TG8h3k7otvZWjXGV4WVPYW3Z82DGvNidAWbxrApMOSFWWIND-FjsaxGj0tMCm7uv/s400/image1.php" border="0" alt=""id="BLOGGER_PHOTO_ID_5444553664212303634" /></a><br />From Knoxville: Building Communities. Detail from The City without a Ghetto.<br /><br /><br />What I really like about this non profit community based organization is their development of information into a physical and visual language. Their Use of mapping in the areas of urban planning are also a great interest of mine. The group was formed by artists, designers, city planners, architects and community activists. They represent their questions, analyzes, and proposals for spatial politics of contemporary life. These maps are ofter fun and playful, very designed, they experiment with form and representation and are great tools for research with pedagogical potential.<br /><br />Article<br /><br />Part of CUP's Urban Investigations program, which asks basic questions about how cities work, Bodega Down Bronx delves into the politics and players of New York's network of bodegas. Under the direction of CUP teaching artist Jonathan Bogarín, and working with CUP staff Valeria Mogilevich and Rosten Woo, and intern Sarah Nelson Wright, the student filmmakers researched issues, visited sites, storyboarded scenes, produced props and sets, and conducted interviews. They took their video equipment and question lists to store owners, wholesalers, distributors, drivers, and customers young and old. They met with nutrition professors and diabetes counselors, and with U.S. congresswoman Nydia Velázquez, who sponsored H.R. 5952, the Bodegas as Catalysts for Healthy Living Act (which would have provided grants to bodega owners to install refrigerated cases to stock more perishable produce). Along the way they teased out the cause-and-effect of food cultures, the self-reinforcing cycles (and stereotypes) that have turned some urban neighborhoods into so-called food deserts. Do bodegas stock a lot of snack food because that's what their customers want, or do customers reach for the BBQ-flavored crisps because that's what's available at the bodega? <br /><br />Like all CUP projects, Bodega Down Bronx is inspired by the conviction that cities and their complex systems and politics can be made legible and transparent — and more, that this transparency is vital for democratic society. <br /><br />— Nancy Levinson<br /><br /><a href="http://places.designobserver.com/entry.html?entry=12257">Full Article here<br />http://places.designobserver.com/entry.html?entry=12257</a><br /><br /><br /><br />J. Henry Fair<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzPkXUSTe7v9CDehzxhqJwMfZfJ_iohgGjTWVcw3bWRQp7aztzveHz9-xjb_IfVKHBDeHQPVjAjS6WO4KtX1QfAvgpfvnY2qATUmhaH61PIno7OZEpyr-rrIPdiyANHh0J5pXQ4NPqGmh/s1600-h/2997-0060.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjzPkXUSTe7v9CDehzxhqJwMfZfJ_iohgGjTWVcw3bWRQp7aztzveHz9-xjb_IfVKHBDeHQPVjAjS6WO4KtX1QfAvgpfvnY2qATUmhaH61PIno7OZEpyr-rrIPdiyANHh0J5pXQ4NPqGmh/s400/2997-0060.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444560345728939218" /></a> 75 x 50in C-Print 2009<br />At this fertilizer plant, the phosphate rock is processed with sulfuric acid to convert the phosphate into phosphoric acid, and again with ammonia to produce a diammonium phosphate, which is water soluble and thus available for uptake by roots. For every ton of phosphoric acid, five tons of phosphogypsum waste are produced, which, due to the presence of naturally occurring uranium and radium, is radioactive. Therefore it must be stored in “gyp stacks,” contaminating ground and surface water<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwTyMAbSq2uxL0cYqC3KlQ3TzAIZyHesylpCfHdAPsx-E5WRhjMW8zOCiPUiagSMBdGh4lkZK4DpLLZTRac2yQNANX8k2Ua3-hupz_V03o_bHoEC1FtzcTSZ2Qq4biO_2hdEUwxMWOaNo/s1600-h/2997-0989.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 267px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqwTyMAbSq2uxL0cYqC3KlQ3TzAIZyHesylpCfHdAPsx-E5WRhjMW8zOCiPUiagSMBdGh4lkZK4DpLLZTRac2yQNANX8k2Ua3-hupz_V03o_bHoEC1FtzcTSZ2Qq4biO_2hdEUwxMWOaNo/s400/2997-0989.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444560340386636626" /></a> 75 x 50in C-Print 2009<br />Dragon shape in phosphate fertilizer mining waste<br /><br /><br />There comes a real enjoyment when viewing these photographs and also there's a feeling of disappointment. There grandiose aerial photographs are beautiful in the abstraction of the land, yet brutal in the use they depict. Many of his photographs are of industrial sites and complexes disrupting the landscape and creating havoc on the environment. His images depict fertilizer runoff, mining complexes, various chemicals being deposited into the landscape (both natural and man made), and a plethora of other ecological and environmental disasters covered up by corporations and industry. There's an obvious agenda to his work, although he is showing us these beautiful abstractions in the land, the colorful nature of these images are not natural, much is from all of the chemicals that are being deposited into the land. My work is much less environmental than his, but I feel that there are many similarities. I am showing these manipulated landscapes of nature and the paths that we create for recreation. There are many objects and obstacle that have been places into my landscapes and I depict them as a document, much like he does. <br /><br /><br />Artist Statement:<br /><br />My work is a response to my vision of society.<br />I see our culture as being addicted to petroleum and the unsustainable consumption of other natural resources, which seems to portend a future of scarcity. My vision is of a different possibility, arrived at through careful husbandry of resources and adjustment of our desires and consumption patterns toward a future of health and plenty. To gear our civilization toward sustainability does not necessitate sacrifice today, as many naysayers would argue, but simply adjustment. There are many societies existing at present that have a standard of living at least as high as ours while consuming and polluting a fraction of what is the norm in the United States.<br />As an artist with a message, one asks oneself: how do I translate my message to my medium such that it will effect the change I want?<br />At first, I photographed “ugly” things; which is, in essence, throwing the issue in people’s faces. Over time, I began to photograph all these things with an eye to making them both beautiful and frightening simultaneously, a seemingly irreconcilable mission, but actually quite achievable given the subject matter.<br />These are all photographs of things i have found in my explorations.<br />Other than standard photographic adjustments of contrast, they are unmodified.<br /><br />-J. Henry Fair<br /><br /><a href="http://www.jhenryfair.com/aerial/statement.html">http://www.jhenryfair.com/aerial/statement.html</a><br /><br /><br /><br />Melissa Brown<br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt163AiX6k6W19N1X12I5cx3m2yaaI-j-yCMAa88xfjlpKwmeJlYRvXUZPNqIMz4iqLV3s_vTkiiB_tYQeVBkNAc2GnJjDUqKAHKK6Q3pZOpyARC3Iy79lfyWAm-YNuhMSXh9qtI2iK78J/s1600-h/newvaldez1.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 205px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgt163AiX6k6W19N1X12I5cx3m2yaaI-j-yCMAa88xfjlpKwmeJlYRvXUZPNqIMz4iqLV3s_vTkiiB_tYQeVBkNAc2GnJjDUqKAHKK6Q3pZOpyARC3Iy79lfyWAm-YNuhMSXh9qtI2iK78J/s400/newvaldez1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444623648171772594" /></a><br />New Valdez Oil on Aluminum, 60″ x 120″, 2008<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvFps-l7vjKRgakdWxEj9ZLvxBqVx-oW8oDx5_LpbGldb5XH1sHU7vEmqP2fF-DSzrJKIZ3IfgHYpF3zdmJsnNAHTJKS6MZ545Ev_95voiN8RVHSD05p2Wk9PVIdvV3ZhTqVPrHC2v98ML/s1600-h/pond.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 399px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvFps-l7vjKRgakdWxEj9ZLvxBqVx-oW8oDx5_LpbGldb5XH1sHU7vEmqP2fF-DSzrJKIZ3IfgHYpF3zdmJsnNAHTJKS6MZ545Ev_95voiN8RVHSD05p2Wk9PVIdvV3ZhTqVPrHC2v98ML/s400/pond.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5444623640892158226" /></a><br />Pond Scum, Oil on Aluminum, 48″ x 48″, 2007<br /><br /><br />I chose Melissa Brown because of her depiction of land in her apocalyptic landscapes. Much of her work is inspired from sci fi fantasy movies and action thrillers. The painting are a testament to idea of being able to witness the demise of civilization. To be able to sit back and indulge in the psychedelic and surreal aspects over impending death. The idea that there are so many ways that the world can end, there are endless ways of depiction and the dialogue one gets were absorbing the image. I like that the paintings are at times where doom is apparent, yet it appears to be the calm before the storm, everything seems normal to just plain sight, but the landscape is changing. My photography in sorts is depicting an environmental encroachment of people into its space. Although I am just shooting as a document, i allow for the absorption of the image, what does the land tell you? What does the manipulation and use tell you? questions like these are things I would like people to get out of my photographs and analyze what they mean.<br /><br /><br />Review:<br /><br />Curated by Denise Markonish<br /><br />Badlands: New Horizons in Landscape
,<br />May 24, 2008 - April 12, 2009,
Building 4, First Floor<br />From the earliest renderings on cave walls, man has been compelled to depict the world around him. The tradition of portraying the landscape has threaded together movements as varied as the mid-19th century Hudson River School and the Earth Art of the 1960s and ‘70s. Badlands: New Horizons in Landscape, opening Sunday, May 25, 2008, at MASS MoCA (Massachusetts Museum of Contemporary Art) in North Adams, opens the next chapter in the landscape tradition, addressing contemporary ideas of exploration, population of the wilderness, land usage, environmental politics and the relativity of aesthetic beauty.
Badlands comes at this critical time, an era when the world is more ecologically aware yet more desperately in need of solutions than ever before. The artists in this exhibition share this collective anxiety some turn to the past to see how their predecessors negotiated the terrain of the landscape while some propose entirely new ideas. While deeply aware of the legacy of the landscape, each of these artist reinvents the genre to produce works that look beyond vast beauty to address current environmental issues.<br /><br />How disasters affect the land
:<br />Another group of artists addresses both natural and man-made disasters and how they affect the land and its inhabitants. Leila Daw’s large-scale paintings deal with floods and volcanoes and how they impact both the landscape and civilization; in her work the constructed environment is always being wiped out as a lesson to the interlopers. Melissa Brown and J. Henry Fair deal more directly with the beauty of a declining landscape. Brown’s Anime-inspired paintings look like postcard images of national parks until closer examination reveals an oil slick on the surface of the water or a technicolor view of Niagara Falls. Fair’s unaltered aerial photographs seem to capture beautiful abstractions of the landscape, while, in truth, their “beauty” is actually the result of man-made chemical processes that are actively polluting the landscape.<br /><br /><a href="http://www.melissabrown.tv/">http://www.melissabrown.tv/</a>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-62247231842597535972010-02-26T10:48:00.000-08:002010-02-26T10:59:19.499-08:00Goals for Feb. 26 - Mar. 5th<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSC5QSARTqvsST6ZRZkaFrk8H-E8NZZZaOujQXF9MmkxG6V6akw7XcPKnV0HRbAe7r2-zET1csG9XkWG-8bZjMcQ-LkK6RjiKbkohbgLfzdH51YV1YD_0BSMwnxGZlEic98Lr678KruhP/s1600-h/airdome.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 275px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxSC5QSARTqvsST6ZRZkaFrk8H-E8NZZZaOujQXF9MmkxG6V6akw7XcPKnV0HRbAe7r2-zET1csG9XkWG-8bZjMcQ-LkK6RjiKbkohbgLfzdH51YV1YD_0BSMwnxGZlEic98Lr678KruhP/s400/airdome.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442628688960930866" /></a><br />My goals for this week are going to be very simple and basically plans for survival.<br /><br />This weekend I will go revisit Williamsburg, Va where my camera stopped working when the trails started getting good.<br /><br />I am going to stay relatively local this weekend and Shoot the Buttermilk and Northbank Trails.<br /><br />Possibly go to Dorey Park in Varina, Va<br /><br />Must edit all of my photographs and find out where the direction of this project is really going to go. <br /><br />Finalize Photographs for Midterm Review.<br /><br />Prepare my questions and answers for the review as well.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com1tag:blogger.com,1999:blog-4646797669747360547.post-27265868678750046282010-02-24T19:20:00.000-08:002010-02-24T21:40:39.626-08:00Urban Territories(Snapshots of my Mapping)<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoO8SIwil1wBSZ8pz9W7A6-23lb6gCVLzXZ9r8xCd0d_8hNfzIiZ8mOjMFSB4ZbhEsV0paoc6DMqL4lbqnbTdR4Fb-rbAmBWp0F8_mIuVyQWXEtB0nN2AX1Gh1upQxVz-KUb81t-NRKSVH/s1600-h/23550_652634703037_37613334_36618829_7663505_n.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoO8SIwil1wBSZ8pz9W7A6-23lb6gCVLzXZ9r8xCd0d_8hNfzIiZ8mOjMFSB4ZbhEsV0paoc6DMqL4lbqnbTdR4Fb-rbAmBWp0F8_mIuVyQWXEtB0nN2AX1Gh1upQxVz-KUb81t-NRKSVH/s400/23550_652634703037_37613334_36618829_7663505_n.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442046956280009330" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKw8wDmS-OT5bhOi5kOUNurUwgAH4_q889aEMOpeKxBUoHPvPj0cgRmVVikhXDsqif34Y5LgWJkaRQfOknfGl0k5-J7qbTY_uXpqGYk3V1QZvM_U9TFN7scSqMSUOCnSaaf7-xxJ-X44C/s1600-h/20572_653321865957_37613334_36634901_4918849_n.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEKw8wDmS-OT5bhOi5kOUNurUwgAH4_q889aEMOpeKxBUoHPvPj0cgRmVVikhXDsqif34Y5LgWJkaRQfOknfGl0k5-J7qbTY_uXpqGYk3V1QZvM_U9TFN7scSqMSUOCnSaaf7-xxJ-X44C/s400/20572_653321865957_37613334_36634901_4918849_n.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5442046947965327634" /></a><br /><br />Territories<br /><span style="font-style:italic;"><br /><br />"The development of the metropolis and the rise of photography went hand in hand and would remain closely linked. The modern city and its commercial activities found, through photography, the image that most effectively documented them and gave for to their values."</span><br /><br />-Real Lussier<br /><br />This quote was an eye opener for me, i never really thought of it like that. That there's this undeniable link to technology and the development of cities with photography. It is the source of documentation for the modern societies and now that it's so abundant that its becoming dependent on the use of photography as one of the only means of its validation and justification. <br /><br /><span style="font-style:italic;"><br />"It would seem that our own ear sanctions, more than ever before, the divide between the city as physical territory and the community of citizens. The principles of transparency, order and visibility in the Modernist conception of large cities have been replaced by fragmentation, dispersion, anarchic development and the alienation caused by the latest transformation of urban space."<br /></span><br />-Real Lussier<br /><br />This again is reiterating, in different words, the break down of our current landscapes in the urban areas of the world. How things are going to be looked at in this day and age. There's segregation happening around us in the form of capitalism and its use of classes. These disconnects are the focal points of many young photographers, who are seeing the in between moments of time and land that create these stories through photography to exhibit meaning into the dialogue.<br /><br /><span style="font-weight:bold;"><br />Lussier, Real. Urban Territories. Geneva: Musée d'art contemporain de Montréal, 2005. Print.<br /></span><br />I chose an article from this book because of it's really good descriptions of the new examination of the landscape and its context. There's a cultural reexamination of our current post industrial landscape and this book is trying to organize the chaotic nature of the subject matter.JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0tag:blogger.com,1999:blog-4646797669747360547.post-33198596142886494452010-02-22T08:44:00.000-08:002010-02-24T12:34:50.920-08:00Six Quotes<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEvMINnPvtB2EWaAfV_Zrrc2doPNt3vr4oy0svxmvPbU4HkhCS_9PBNexO9O6uTYVUwgw6UGj7s2ljSIBlfzzeb7TZxDH98o0VkHumFdar0YAKnwruu0oF-gJlC3kxqd8weMXRjxMmG7k/s1600-h/blacksburg+blue+trail+001.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 395px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMEvMINnPvtB2EWaAfV_Zrrc2doPNt3vr4oy0svxmvPbU4HkhCS_9PBNexO9O6uTYVUwgw6UGj7s2ljSIBlfzzeb7TZxDH98o0VkHumFdar0YAKnwruu0oF-gJlC3kxqd8weMXRjxMmG7k/s400/blacksburg+blue+trail+001.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5441829248658744658" /></a><br /><br /><br />"By allowing us to really look at the landscape and see it as a social construct. The landscape in many ways is man-made; it is not like nature, though the two are entwined... artists exploit the sheer physical "beauty' of the natural world, and in doing so, allow us to question its validity and its place within our understanding of the landscape around us."<br /><br /><span style="font-weight:bold;">-Denise Markonish. Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print. </span><br /><br />I thought this quote was a good barometer to explain the reason of the contemporary landscape and why it's a crucial aspect of art. When photographing beauty, one must remember that its validity is questioned and that its beauty can be in limitless. It also brings up the disconnect between the natural landscape and the man-made landscape and the dialogue that arises from this difference.<br /><br /><br />"The landscape genre can be seen as a kind of performance, an interaction between land and viewer that is rehearsed endlessly in the presence of the viewer. It may even draw the viewer in. This gives it a spiritual substance. It is an exchange - though not a monetary one - between human and natural. It may even be a kind of giving voice." <br /><span style="font-weight:bold;"><br />-Ginger Strand. (Essay) At the Limits: <span style="font-style:italic;">Landschaft</span>, Landscape, and the Land<br />Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print.</span><br /><br />What I take from this is that when a viewer approaches a landscape, there's an interaction that happens between themselves and the land that's presented. There's a presence that attracts viewers to the image and therefore a spiritual connection happens for the space shown.<br /><br /><br /><br />"In connection with abstract space, a space which is also instrumental (i.e. manipulated by all kinds of 'authorities' of which it is the locus and milieu), a question arises whose full import will become apparent only later. It concerns the silence of the 'users' of this space."<br /><span style="font-weight:bold;"><br />-Lefebvre, Henri. Production of space. Oxford: Blackwell, 1991. Print.</span><br /><br /> It talks about space as a social construct; space and land have the ability to change our minds and thoughts on certain aspects of living in this world. The landscape is determined by different governing 'authorities' and why we are one to question that aspect of it to become instrumental in the approach. I also like the idea of silence in my photographs, the absence of life in a pristine, yet man manipulated, way. <br /><br /><br /><br />"The activists depict both natural and man-made environmental disasters, while the pragmatists deal with sustainability, politics of land use, and alternative sources of energy. However, these two groups are inextricably linked; they look at the problems and offer an insight into possible solutions. Adopting both serious and ironic approaches...[They] ultimately take on the responsibility we have to the landscape while at the same time using art to open people's eyes to change."<br /><br /><span style="font-weight:bold;"><br />-Denise Markonish. Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print. </span><br /><br />This looks at the was that landscape can be used in a political term, whereas photographing a landscape can imply the questioning of ownership and capitalistic and destructive forces being inflicted upon it. Different approaches can be taken, and different meanings applied, but there's always an unavoidable link between the two (activist and pragmatist).<br /><br /><br /><br />"To give voice to nature in our era is not just an aesthetic act: it's political and activist. The best new work today is pushing beyond the limits, engaging in a dialogue with both landscape and the land. It commits an imaginative act that both makes and is made by the world out there, as well as the I in here."<br /><br /><span style="font-weight:bold;">-Ginger Strand. (Essay) At the Limits: <span style="font-style:italic;">Landschaft</span>, Landscape, and the Land<br /><br />When dealing with landscapes one gives that space to the world. By revealing the land, we take a broader look at what the land actually is. It becomes open to interpretation of beauty and use. <br /><br />Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print.</span><br /><br />"To educate and inform the public about the function and form of the national landscape, a terrestrial system that has been altered to accommodate the complex demands of our society."<br /><br />-CLUI<br /><br /><span style="font-weight:bold;">Thompson, Nato, and Independent Curators International. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. New York: Melville House, 2008. Print.</span><br /><br />The Center for Land Use Interpretation deals with a vast amount of visual knowledge of the contemporary landscape and its public, private, and government uses. We use lands in so many different functions and by photographing these sites and spaces we are able to open a dialogue about said space.<br /><br /><br />Bibliography:<br /><br /><span style="font-weight:bold;">Badlands new horizons in landscape. Cambridge, MA: MIT, 2008. Print.<br /><br />Lefebvre, Henri. Production of space. Oxford: Blackwell, 1991. Print.<br /><br />Thompson, Nato, and Independent Curators International. Experimental Geography: Radical Approaches to Landscape, Cartography, and Urbanism. New York: Melville House, 2008. Print.<span style="font-style:italic;"><span style="font-style:italic;"></span></span></span>JPetrenkohttp://www.blogger.com/profile/15968915480216169154noreply@blogger.com0