Sep 30, 2014
103 notes
arqsa:

amexxvphotography:

Contemporary Pretentiousness 
Shot whilst walking through central London today, packed as always.
AMEXXV





(via TumbleOn)

Great shot. We don’t spend enough time looking up.

arqsa:

amexxvphotography:

Contemporary Pretentiousness 

Shot whilst walking through central London today, packed as always.

AMEXXV

(via TumbleOn)

Great shot. We don’t spend enough time looking up.

Sep 30, 2014
57 notes
eduardoseco:

" Apuntes"     ©Eduardo Seco

eduardoseco:

" Apuntes"     ©Eduardo Seco

(via eduardoseco)

Sep 30, 2014
66 notes
boscdanjou:

Pietrarubbia 01
Detail of The Pietrarubbia Group: il fondamento, l’uso, il rapporto (1975–76) by italian sculptor Arnaldo Pomodoro (b. 1926), in the collection of the Storm King Art Center, New York.
Pomodoro has described The Pietrarubbia Group as “a vision of an archaic settlement.” With its visual references to ancient burial traditions and hieroglyphics, the work commemorates the history and crumbling beauty of the nearly abandoned village for which it is named. The Pietrarubbia Group comprises a patio upon which stand two grand, slab-like bronze doors that visitors can move, providing access to the work’s interior. Expansive areas of the doors and the wall beyond them are incised with patterns that resemble ancient signs or writing, giving symbolic voice to the forgotten society that once occupied Pietrarubbia. The first line of Eugenio Montale’s poem Lo sai <You know) is inscribed on one of the doors:
Lo sai: debbo riperderti e non posso (“You know: I must lose you again, and I cannot”)

boscdanjou:

Pietrarubbia 01

Detail of The Pietrarubbia Group: il fondamento, l’uso, il rapporto (1975–76) by italian sculptor Arnaldo Pomodoro (b. 1926), in the collection of the Storm King Art Center, New York.

Pomodoro has described The Pietrarubbia Group as “a vision of an archaic settlement.” With its visual references to ancient burial traditions and hieroglyphics, the work commemorates the history and crumbling beauty of the nearly abandoned village for which it is named. The Pietrarubbia Group comprises a patio upon which stand two grand, slab-like bronze doors that visitors can move, providing access to the work’s interior. Expansive areas of the doors and the wall beyond them are incised with patterns that resemble ancient signs or writing, giving symbolic voice to the forgotten society that once occupied Pietrarubbia. The first line of Eugenio Montale’s poem Lo sai <You know) is inscribed on one of the doors:

Lo sai: debbo riperderti e non posso (“You know: I must lose you again, and I cannot”)

(via thomortiz)

Sep 30, 2014
134 notes
miyaando:

mentaltimetraveller:

Miya Ando

Miya Ando

miyaando:

mentaltimetraveller:

Miya Ando

Miya Ando

Sep 30, 2014
404 notes

jacobvanloon:

artchipel:

Jacob van Loon (on Tumblr) & Chad Wys (on Tumblr)

(previously)

CW: Furthermore, Jacob, I think you’re a fantastic photographer. That said, do you feel as intimated behind the camera as I do? I think my intimidation stems from the surrender of control involved with taking a picture. I mean, relative to painting a work from scratch, snapping a photograph requires a significant mental shift from musician, so to speak, to composer. To belabor the analogy: we’re relying a lot more on the mechanics of the orchestra as oppose to performing the notes ourselves. I think this could be a controversial statement I’m making. Someone on Facebook recently shared the Ansel Adams quote, “You don’t take a photograph, you make it.” I think Adams is correct in many ways, and in some ways he was a modernist—and like all modernists he was thoroughly, almost exclusively, invested in the materiality of his medium. Can you express your feelings toward photography, especially in relation to the other mediums you employ?

JVL: The weight of a brush stroke, the colors, the thickness of the paint, and the motion it has each create a simple language to consume. Thick is bold, bright is happy, arbitrary combinations are “pop,” rough and fast is angry, dark and heavy is sad (whether or not it actually is). You can look at an Adams photograph and say, “Here is Ansel Adams showing me he was once at Yellowstone.” He was showing in his photographs exactly what he saw in those places, not what those places actually look like. The amount of calculation and manipulation that made his photographs match a memory is hardly an automatic process, nor is it a process led by the camera.

I guess we can trade contentious statements here—A lot of visual artists have a profound lack of understanding towards photography. That misunderstanding comes across as phobic and immature. I think disenchantment with photography comes from how industrious the application of photography can be, it came into popular commercial use around the same time other mechanical devices started replacing the human hand in the workforce. I guess painters and illustrators in the commercial fields over a hundred years ago had more reason to resent photography—some of those artists were making six digits annually and then had to compete with photographs, which facilitated the already blossoming idea of mass production and immediacy. More recently, cameras with the capacity to make great art are in the hands of everyone with a phone. Not many are slaving over a tray of chemicals in the darkoom anymore, tweaking test prints and blowing through expensive silver-gelatin coated paper. The accessibility and ease of photograph-to-print demystifies the medium. That somehow doesn’t cross over into being able to buy a portable pan of watercolor paints and a pad of paper at Wal-Mart—after all, painting takes time, photography is just clicking a button, right?

For the record, the two and a half years I spent in the darkroom developing film and photographs was the messiest and probably most dangerous studio experience I’ve had in my life.

CW: Photography is tricky in that it seems to be both utilitarian and artistic in ways, and to a degree, never before seen. I think early photographers had to fight hard to imbue the technology with some legitimacy in the art scene—resorting, it would seem, to creative measures to convey “reality” in impressionistic, often lyrical and surreal ways (as you said, Adams was photographing an impression more than a reality). The results were often dreamlike and stunningly beautiful.

I think photography’s ubiquitous today because the technology has allowed it, but I also think everyone seems to want to take pictures and to be in pictures. It’s narcissistic but it’s also a legitimate way to archive one’s experiences. What’s more, applications like Instagram seem to blur the boundaries between artistry and utilitarianism even further: superimposing artful filters and sharing publicly the creative results of otherwise commonplace, private images. It causes one to question: what is “fine art photography” today and what sets it apart from every other photo? Are the differences important? Is the “battle” between film and digital effectively the battle between dedicated artists and armchair photographers? These questions might be more rhetorical than answerable. On a more personal level, you seem to lament the darkroom somewhat; are you remorseful about the diminished presence of film, or are you accepting of the sea change to digitalism?

JVL: No resentment whatsoever, I’m just very proud to have had the experiences I did with photography because process has always been important in my work. Since a lot of the popular software is modeled after analog processes, I think my transition has been marked that way and some of my decision-making is anchored in that relation. In contrast, some of the ways younger artists not exposed to traditional process manipulate the same software in a much different way, with an entirely different intuition. I see technology playing a greater role in my work and profession in the future, especially if I get time to learn CAD.

CW: I’ve always felt more at home at a computer than with a pencil or brush in my hand. My father has been instrumental in that regard; since my earliest memory there was always a PC in the house. But unlike the pencil or brush, one often must adapt to changing technologies. There’s something exciting there, I think, but also a sense of constant, impending obsoletism. I think that’s very good for art in general, though. There’s no worry, at least in my mind, that art will never not be fresh and experimental.

(to be continued)

Jacob van Loon, Untitled (from Weird Love), photograph (2013)
Jacob van Loon, Untitled (from Weird Love), photograph (2013)
Jacob van Loon, Untitled (from Weird Love), photograph (2013)
-
Chad Wys, At The Museum 1. c-print, 20”x30” (2010)
Chad Wys, Burqa. c-print, 30”x30” (2010)
Chad Wys, Cover. c-print, 30”x30” (2010)

[art discussion hosted by Artchipel]

The rest of my conversation with Chad Wys is now at Artchipel. Thanks again to Chad and Rery.

I am struggling with the same dilemma. What I am doing is subverting the photograph with technology. Does this make it not art or more art?

Sep 29, 2014
6 notes
Sep 27, 2014
162 notes
nurnielfa:

Viaje 1. Nur Nielfa

If you love MADRID and the old cities close by, check out Nur&#8217;s blog for wonderful photos.

nurnielfa:

Viaje 1. Nur Nielfa

If you love MADRID and the old cities close by, check out Nur’s blog for wonderful photos.

Sep 26, 2014
649 notes
akihitotakuma:

Akihito Takuma, Lines of Flight, op.431, oil on canvas, 2014

akihitotakuma:

Akihito Takuma, Lines of Flight, op.431, oil on canvas, 2014

Sep 26, 2014
128 notes
Sep 26, 2014
627 notes
Sep 26, 2014
17 notes
crooks-lovers:

Doug Wheeler | rotational horizon work, 2014

crooks-lovers:

Doug Wheeler | rotational horizon work, 2014

Sep 24, 2014
401 notes
red-lipstick:

Stefan Holl - Taubentreppe (Pigeons Stairs)     Photography

red-lipstick:

Stefan Holl - Taubentreppe (Pigeons Stairs)     Photography

(Source: stefanholl.wordpress.com)

Sep 21, 2014
39 notes
amargot-photos:

L’autre monde 
© Amargot - 2013

amargot-photos:

L’autre monde
© Amargot - 2013

Sep 21, 2014
144 notes
amargot-photos:

Corps accord
© Amargot 2014

amargot-photos:

Corps accord

© Amargot 2014

(via luxlit)

Sep 20, 2014
14 notes
miyaando:

#miyaando #solo exhibition #sundaramtagore #oct 16- nov 17 @offthehookuk @offthehookmag #thankyou

Love her work. Wish I could see her show.

miyaando:

#miyaando #solo exhibition #sundaramtagore #oct 16- nov 17 @offthehookuk @offthehookmag #thankyou

Love her work. Wish I could see her show.

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About
I am an artist living in an isolated community in BC, Canada. This blog is a collection of my work and the images, work and ideas of others that I find pleasing. Tumblr is my window into a kindred world I did not know existed. THANK-YOU. Subscribe via RSS.