Holly Andres uses photography to examine the complexities of childhood, the fleeting nature of memory, and female introspection. Typically her images rely on a tension between an apparently approachable subject matter and a darker, sometimes disturbing subtext. She has had solo exhibitions in New York, Los Angeles, San Francisco, Atlanta, Istanbul, Turkey and Portland Oregon where she lives and works. Her work has been featured in The New York Times Magazine, Time, Art in America, Artforum, Exit Magazine, Art News, Modern Painters, Oprah Magazine, Elle Magazine, The LA Times, Blink and Art Ltd. – which profiled her as one of 15 emerging West Coast artists under the age of 35.
Leah Yerpe was born and raised in Cattaraugus County, NY, and currently lives and works in Brooklyn, NY.
I enjoy using the human figure in my work because we cannot help but project on and relate to it. The bodies in my work are multiplied in different poses, twisting, floating and falling on a ground purged of contextualizing marks. I never pose my models; they have free reign to move in an immediate, improvised dance. This looseness contrasts with a fastidious drawing technique, where I capture the bodies of my models as if formal elements in a collage. I see them transformed from free individuals into symbolic figures. This is akin to the transformation of human experience in mythology and religion. The influence of mythology on my artwork is often hinted at in the titles, though my work is not a direct illustration of the stories. What I’m after is that kernel at the heart of the story, the core that will always resonate human experience.
Rory DCS – Fashion Photographer from London. Graduated from London College of Fashion specialty of fashion journalism. Collaborates with the Sunday Times Style, Time Out, Cooler, Fallen, Platform, Tank Observer Fashion, Vice, Italian Glamour, What!? and many others.
Gregory Crewdson: Brief Encounters follows acclaimed photographer Gregory Crewdson’s decade-long quest to create a series of haunting, surreal, and stunningly elaborate portraits of small-town American life — perfect renderings of a disturbing and imperfect world. *OPENS OCT 31 AT FILM FORUM IN NEW YORK* CHECK WWW.GREGORYCREWDSONMOVIE.COM TO FOR OTHER CITIES.
Daniel Shea is an artist based in Chicago currently working with the historical and mythological materiality of post-industrial detritus and existing pre-ruins. He recently published his first monograph, Blisner, Ill.in conjunction with a long-term residency at Columbia College Chicago and a book release at the Museum of Contemporary Photography. He is scheduled to show photographs and sculptures at The DePaul Art Museum, Chicago, The Museo de Arte Acarigua-Araure, Venezuela, The RISD Museum of Art, Providence, and The Yixian International Photo Festival in China. His previous work has been exhibited at the MDW Art Fair, Andrew Rafacz Gallery, the Moscow Museum of Modern Art, Asia Society in Beijing, LVL3 Gallery, Newspace Center for Photography, and Acre Projects, among others. In the summer of 2013 he will be moving to New York City and working as an adjunct professor of photography at The Maryland Institute College of Art.
October 31th 2012 After the passage of the hurricaine Sandy - The New york black out - power shutdown - New york in the dark.
Christophe on Christophe: In my opinion, there are two ways of capturing the world for a photographer; on the one hand grasping its horror, and on the other sublimating it. I have chosen the second. More specifically, I like the way rain, snow and “bad weather” awaken a feeling of romantic fiction within me (climatic excesses are another topic). I see these elements as a fabulous ground for photography, an under-used visual universe with a strong evocative power, and with a richness of subtle lights. This universe escapes most of us, since we are too occupied getting undercover. Man becomes a ghostly silhouette wandering and obeying the hazards of rain or of snow. My approach is deliberately pictorial and emotional.
novastructura is maintained by Giuseppe Randazzo, a designer from Turin (Italy). This site wants to be an open and evolving place where to share my works and experiments as well interests on several topics, ranging from generative art, new-media art and contemporary art, to architecture, coding, science, tech, and so on. The meaning and the reason of novastructura may be seen as the need to explore the blurred boundary between art and science. The site for this purpose is divided in two parts, the personal works database (generative related) and a blog where I will try to collect - through my personal point of view - the most meaningful suggestions coming from the net about the above topics. All my works presented here are licensed under a Attribution-NonCommercial-NoDerivs 2.5 Italy (CC BY-NC-ND 2.5) License. Here the italian version. The blog's policy about published works is strictly in finding and in clearly showing the work's author and original source. The authors may request at any time to remove their content, I will provide as soon as possible.
Description: This project has started from a search for a 3d-objects optimal packing algorithm over a surface, but evolved in something rather different. I love the work by Richard Long, from which this project takes its cue. The way he fills lonely landscapes with arcaic stones patterns and its eroic artistic practice, in his monumental vision, is in strong contrast with this computational approach that - ironically - allows virtual stones creation and sorting in a non phisical, mental way, a 'lazy' version, so to speak. The virtual stones created by several fractal subdivision strategies, find their proper position within the circle, with a trial and error hierarchical algorythm. A mix of attractors and scalar fields (some with Perlin noise) drives the density and size of the stones. The code is a C++ console application that outputs a OBJ 3d file.
These gorgeous works by German painter Philipp Haager. ‘What is left, is if nothing is left (abridged) According Beat Wyss there are exactly two types of artists – those who deceive the perception skill and those who let them down deliberately. Philipp Haager belongs neither to one nor to the other group, for deceiving and disappointing at best theoretically belong to the applied arts maneuvers its picturesque imagery. His mostly large-scale paintings created in a nearly loving process of accumulation of matter, by applying ink on canvas and the subtraction of matter, through targeted washing off the ink with constantly sprayed water. What is left after a long and concentrated creative process are images such as “weather web” (2006), showing a submerged in white-gray-black color landscape. Rushing and wabernd sunbeams penetrate single cloud and fog formations that seem great while over wooded valleys with no name, like children who actually are far too old to play boisterous games. This ease is his pictures alike commonly enrolled as a heartfelt earnestness. A seriousness that seems to ask for the whole. Hague will probably therefore been linked to neo-romanticism in conjunction and Caspar David Friedrich and Joseph Mallord William Turner summoned as a reference. Could it be that these comparisons? In his studio you will find a number of unfinished pictures leaning against the walls and quietly in the specially provided vessels drip when she would weep or bleed, like slaughtered animals that are on the wall. Ink it is rather that runs continuously in black, thick drops out of the picture. Longer drying phases require re watering, a rhythm that dictates the nature of the image as well as light and shadow, compaction and loosening. Romantic they may still be considered only insofar as they show a kind of ideal landscape – an imagined Arcadia, however, that lost its innocence after the storm seems to have and is more than aware of his imperfections. Haagers images thus miraculously, what is left of a lost idea left. Frank-Thorsten Moll, head of the art department, the Zeppelin Museum Friedrichshafen.