Zach Lewis’ There Are No Sins Here

Zach Lewis lives and works in New York. He has just released his book There Are No Sins Here which is a 6″ x 9″ 110 page survey of work from 2010-2012. Lewis describes it briefly saying it is a “A narrative driven documentary photography book reflecting the sentiment of contemporary American life.” It serves as an honest portrait of a twenty-something taking in the city of NY during a time of political unrest. We see the push and pull of organized religion and ideologies of faith. Current events like the death of Osama bin Laden and Steve Jobs are presented as a reminder of the speed and influx of information in our current culture. Joy, paranoia, frustration, and hope are presented in equal measure. You can pick up a copy here

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Facundo Arganaraz’s Reinvigorated Images

Facundo Arganaraz lives and work in San Francisco. Using entirely found imagery and a crisp design sensibility Arganaraz alters and skews in order to create a modern dialogue with vintage visuals. His subject matter and acrylic with screen print technique is reminiscent of Christopher Wool and Andy Warhol as he too utilizes a design based aesthetic in which he incorporates text, multiples of the same imagery, and washed out color fields. In his own words: “Living among the vestiges of cultural entropy, I am using anachronistic elements and discarded images not for their nostalgic value but as remains (debris, waste, etc.) of 20th century utopias on the making. Mostly comprised of found photographs, photocopies, and pages from vintage books depicting modern designs and/or environments, I recruit this imagery (retro esthetics) as a mark-making tool, already packed and charged (ready-made?) with pictorial formal elements. Their core forms serve only to organize visual fields into dynamic, constructed compositions that hold a structural relation to the surface they organize.”

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Brent Christensen’s Castles Made Out Of Icicles

Brent Christensen constructs massive towers that he has coined Ice Castles. The monuments are made entirely out of ice with no supporting substructure. “Christensen’s series of Ice Castles are unpredictably constructed towers of ice fortified by more ice. The enchantingly frosty structures start off with a pool of water, naturally frozen atop grass, as their foundation. From there, the artist attaches countless icicles, using water to cement them in place, with the help of about 20 crew members who work tirelessly to deliver Christensen’s self-made icicles from his personal rack, where water drips and forms 3,000 to 5,000 icicles per day. Millions of gallons of water are used for each castle’s assembly, allowing it to reach heights of 20 to 25 feet. Additionally, the interior design of the chilly architectural constructions include tunnels, archways, walls, and stairs. At night, they’re even illuminated from within by multi-colored LED lights, heightening the magical air of the setting.” (via)

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Iconograph Magazine Issue II

Iconograph Magazine has just released its stunning second issue in an edition of 750. The magazine is curated and published by Justin Blyth, with contributing editors Hassan Rahim, Justin Van Hoy & Andrew Pogany. Justin, who runs the expertly curated massive found image blog Them Thangs has produced an amazing encapsulation of contemporary dark esoteric imagery and writings. “Iconograph #2 is the second print offering in an ongoing series that gathers an eccentric collection of visual media and literature exploring the contemporary use of Ritualistic Iconography—the systems of symbols, mythic representations, and religious imagery from which we seek meaning. Iconograph #2 is an 80-page curated document, offset printed on an 8-color Heidelberg press in Belgium, in an edition of 750. It is privately funded and contains no advertising, promotion, album reviews, or horoscopes.” You can pick up a copy here.

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Ji Yeo Examines Beauty Via Post Plastic Surgery Photographs

Originally from Seoul, Korea Ji Yeo now resides in Rhode Island. From 2009 – 2012 she worked on an extensive photography project entitled The Beauty in which she documented numerous women in Seoul, Korea immediately after they had undergone plastic surgery. With a sensitive demeanor Yeo highlights an aspect of our current culture that has become increasingly commonplace. Ji explains that “…Beauty is integral to human nature, and people find beauty in the most difficult circumstances, during emotional chaos and disorder, within social taboos and the breaking of such taboos and even in the face of death. My work focuses on ideas of “beauty” in contemporary culture, specifically in how women in our culture come to define and enforce an ideal of beauty on themselves…”

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Emilia Brintnall’s Whimsical Papier-mâché Sculptures

Emilia Brintnall lives and works in Philadelphia where she is a member of the Space 1026 art gallery and co-op. Her paper-mâché sculptures revel in the vibrancy of the animal kingdom as well as everyday objects. Snakes, Dinosaurs, Foxes, Fruits and Ghosts are simplified and minimally painted. Small yet mighty, Emilia’s spirited figures are a buoyant reminder of the merry and oftentimes silly world we inhabit.

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Jose Davila’s Skeletal Architecture

Jose Davila lives and works in Guadalajara, Mexico. His large installations are “…fueled by the interest in the relation between place and fiction, space and temporality under architecture…” Davila accomplishes this with wood and metal objects that outline a room with a skeletal structure. Another series features colorful mobiles that constantly shift as they hover above the ground. His formations define their environment as they investigate form and color.(via)

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Blair Whiteford’s Fragmented Paintings

Blair Whiteford lives and works in New York. His fragmented paintings blur the line between figuration and abstract expressionism like the Bay Area Figurative Movement in the 1950′s. In his own words, “I am interested in the way that a body interacts with its surroundings. The images that I create depict bodies and spaces that are constantly being altered by a hypothetical understanding of the space that the figures are experiencing. While creating my recent body of work I have been particularly interested in the space that exists in between non-objective abstraction and representation, allowing the two to transform into one another throughout the paintings.”

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