My recent work has its genesis in my observations of a paper recycling plant located next to my studio building in St. Paul, Minnesota. Out my window I can see a never-ending stream of semi trucks pull up next to the plant and disgorge mountains of used cardboard boxes, packing materials, and bales of compressed paper. The paper is dumped in a concrete yard, forming a constantly shifting landscape that rises and falls, spreads and recedes as the days pass. Every so often, the piles must be sprayed with a water cannon to keep them from catching on fire or to prevent the wind from scattering the paper across the neighborhood. Despite the constant bustle of activity in the yard, the piles never disappear.
Since making a series of paintings and drawings of the paper plant, I have visited scrap metal yards, a bottle factory, and a neighborhood recycling facility. I am fascinated by the piles of scrap material at these sites, which uncannily resemble the natural landscape in their structure and complexity, textural and topographical variety, and cyclical rhythms and patterns.
Recently my focus has shifted from broader views of the sites to close-ups of the scrap material itself. Sorted and organized by type, it tends to resist categorization and orderliness – the wind blows the paper out of its neatly defined piles and stacks, scattering it across the yard; crushed into cubes, the rusted metal bends and twirls, creating organic rhythms at odds with the rigid geometry imposed upon it. The imagery is rich with associations -- life and death, growth and decay, order and chaos.
Biography Michael Kareken received a BA in Visual art from Bowdoin College in 1983, and his MFA degree from Brooklyn College, CUNY in 1986. He also attended the Skowhegan School of Painting & Sculpture (1988) and the Yale Summer School of Music & Art (1982). After graduating from Brooklyn College, Kareken lived and worked in New York City until 1993, when he moved to Minneapolis, Minnesota. Since 1996 Kareken has taught at the Minneapolis College of Art & Design, where he is a Professor of Fine Arts.
Kareken is the recipient of a 2010 Bush Artist Fellowship and a 2009-2010 McKnight Foundation Artist Fellowship. He has also received grants from the Minnesota State Arts Board (2007, 2000, 1996), Arts Midwest (1994), the New York Foundation for the Arts (1990), and the Vogelstein Foundation (1993), as well as a residency fellowship from the Millay Colony for the Arts (1988). He has received three Faculty Research Grants from the Minneapolis College of Art & Design.
In 1997 Kareken received The Louise Nevelson Award for Art and The Childe Hassam Purchase Award from the American Academy of Arts & Letters, and has also received awards in printmaking (2002, 2000) and drawing (1996) from the National Academy of Design.
Kareken has exhibited his work in numerous group and solo exhibitions regionally and nationally, including New York, Los Angeles, Seattle and Santa Fe. His work is held in the collections of The Walker Art Center, The Minneapolis Institute of Arts, The Minnesota Museum of American Art, the Frederick Weisman Museum of Art, and the Minnesota Historical Society, among others.
clients and publications - levi's - urban outfitters - beautiful/decay - monster children - vice - dazed and confused - nylon - babylon records - oxford american - ojodepez - portland mercury - refinery 29 - vivienne westwood - husk - neon
exhibitions 2007 huret and spector gallery, boston 2008 ello gallery, portsmouth 2009 bricks, london 2009 la générale en manufacture, paris 2009 k & K broadway, new york 2010 clinic presents magic, take courage gallery, london 2010 small victories, above second gallery, hong kong 2010 new contemporaries, pop up gallery, london 2010 barely legal, sho gallery, new york 2010 self publish be bappy, photographer’s gallery, london 2010 annual art auction, disjecta, portland 2010 everything matters all the time, portland 2011 neon chocolate gallery, berlin 2011 spacer presents upstate memory, villa pacri, nyc 2011 when we were young, FLOAT gallery, nyc 2011 we have begun our final descent, nationale, portland
books the world is saved, self-published,2009 you are nowhere, kaugummi books, 2010 not many kingdoms left, pogo books,2010
anthologies smokebath, seems, 2010 background noise, JSBJ, 2010 underdogs, beautiful/decay, 2010
See more work by Jeff HERE
Jonathan often works within the fields of editorial or fashion photography while exploring the parameters, and exploiting the conventions of the medium. We made a website that aimed to directly compliment his original, idiosyncratic approach. The design was, purposefully, neither commercial nor conventional. Menus and traditional navigation were disregarded. Projects were instead accessible through a metronomic, continuous slideshow of key images. These images are featured at alternate, non-uniform sizes to accentuate the wide-range of conceptual approaches and subject matter within the work. Individual project details and other navigation appear when the user rolls-over the image. In contrast to the main index, each project was presented as a complete work rather than single images. The site gives the refined experience and subtleties of a Flash-based site but was built completely in HTML. This allows for increased accessibility and allows the site to operate on multiple platforms including the iPhone.
ABOUT Andrew Woodhead is a freelance artistic director and graphic designer who works around the typography, music, fashion, publishing and corporate areas. Living in Paris, France working for clients worldwide.
“Forgive the kids for they don’t know how to live,” sings St. Vincent in “Cruel” from her upcoming release Strange Mercy due September 13. The video is made through the lens of Corey Creasey and Ian Kibbey’s Terri Timely, a long-time team collaborator of Annie Clark’s work as St. Vincent, who also shot her two videos from 2009′s Actor. In the music video, St. Vincent is an abducted housewife (exhibit 1: 0:09 is an example of how those late night 711 cravings can be nefarious) forced into an American Beauty-esque family life where the kids are weird little demons (exhibit 2: 0:14 another example of why girls in nerd glasses and tube socks carrying teddy bears outside of their pink rooms are downright freaky) capable of burying her alive without asking her to take off those cutesy yellow shoes . Annie Clark’s stark penetrating eyes are nothing like we haven’t seen before, blank and expressionless, paranoia descends eerily. Terri Timely capture the essence of St. Vincent’s subtle sarcasm with their own brand of weird. Hint: check out the trunk.
Tim McPherson (Tim MacPherson) - British advertising photographer. His works are published in a book Lurzers Best Advertising Photographers Book. His clients include Honda, McDonalds, Nikon, Phillips, GQ, IRS, The Sunday Times, etc. Tim - inveterate traveler, and of each trip is trying to bring as much as possible more interesting photos.