Mary Ellen Mark, Heather and Kelsey Dietrick, 7 years old, Kelsey older by 66 minutes
Mary Ellen Mark, Ned and Fred Mitchell, 50 years old, Ned older by 30 seconds
Julie de Waroquier
Julie de Waroquier
Twins: an almost illogically impossible phenomenon where two people look exactly, or almost exactly, alike. Stories of the bonds twins share are equally as fascinating; experiencing the same thoughts and dreams, or switching places to help one another out. It’s no wonder that both Mary Ellen Mark and Julie de Waroquier were drawn to them as the subject matter for their photographs.
Mary Ellen Mark is a well-known photographer based in New York. Considering herself both a documentary and a portrait photographer, Mark was drawn to twins as a unique subject of fascination over a long period of time. She first travelled to the Twins Days Festival in Twinsburg, Ohio in 1998. Enamored with the idea of making a full body of work on twins, Mark contacted the Festival in 2001 to arrange to do a documentary and portrait project there. Over two years she captured portraits and interviewed her subjects, ending up with over a thousand pages of transcripts. The photos themselves, created with the 20×24 poloroid, are stunning black and white images full of narrative and personality.
Julie de Waroquier is a French photographer and philosopher. Her twin series is titled “Chimeras.” Of it she wrote:
“twins have always fascinated me, and not only because I have a twin brother: they are almost magic, and yet they are real. Indeed, the fact that two people look exactly the same whereas they are not the same person is astonishing. It is like a real dream, or like a miracle. In some past or present civilizations, twins are even considered as gods…or as monsters.”
Capturing her chimeras in dreamy landscapes, de Waroquier’s images take on a kind of mythical feeling of their own, furthering the sense that the existence of twins is both mysterious and special.
“André da Loba was born in 1979 in Portugal, to a mama and a centaur. In a family of nine brothers he was the ugliest. His nose was very big, and still is. As a result, his parents sent him to join a sea circus”. His work has been published in a myriad of publications including the New York Times, Time Magazine, The New Yorker, Newsweek, and the Washington Post. “Currently he lives in New York City, where he is secretly happy”.
Costa Rica based artist Marco Battaglini creates large pastiche paintings that combine a handful of genres, styles, and references. His paintings are often reminiscent of a Renaissance composition and include classicist figures painted alongside more modern imagery like graffitied walls, tattooed bodies, varying artistic allusions like Warhol and Lichtenstein, and other pop culture details. Upon closer inspection of the paintings, it becomes clear that the effect of the compositions reveals spatial and temporal disruptions that limit the interpretation of the paintings’ realities.
According to his Saatchi profile, Battaglini, “invites us to think that in today’s global village, with the ‘democratization’ of culture, the evolution of knowledge, information immediacy, immersed in the heterogeneity, the Patchwork Culture forces us to confront with a need understanding beyond our geographical boundaries of time.” (via hifructose)
It is very bad that I am writing about PES today, going into his website, watching his very entertaining and creative videos.. while I am at work here at B/D. It is all very distracting. I love how he finds use for any random object into something recognizable – yet not immediately obvious. I would have never thought of clown cake decorations to stand in for explosions. I could watch these all day.
Let’s face it. Going to the movies can be an expensive and sometimes obnoxious endeavor. As the popularity in streaming services like Netflix and Hulu grow, it’s so much easier and cheaper to just stay at home. But, when you look at these photographs of grandiose theaters by Franck Bohbot, it makes you wish you paid the $15 to be there. In his series simply titled Cinema, he captures the old elegance and spectacular detailing of these places, all of them empty so you can see all of their idiosyncrasies.
Not surprisingly, all of the photographs are theaters in California, in Hollywood and beyond. Some of the decor of these places is totally over the top, like the Orinda Theater, where faux Egyptian hieroglyphics line the walls and guests sit in red velvet seats. Or the Brava Theater in San Francisco, which has an absinthe green ceiling. The Crest in Los Angeles lines its walls with a city landscape and its ceiling dotted with stars, making its patrons believe they are viewing a film outside.
Bohbot’s photography frames these places so they really shine. He controls the lighting and exposure, making these venues appear glitzy and impressive, probably more so than they actually are. But isn’t that movies are trying to do, and by extension the theaters, too? They want you to escape your everyday life for a few hours and believe that you are somewhere else. (Via Flavorwire)
All good things have to come to an end and such is the case with our annual holiday sale. You have until Midnight Pacific Standard Time to take advantage of our massive 50% off sale on all books, magazines, and accessories on the B/D shop. Just enter the discount code ” creative50 ” during check out and get your hands on high quality artist products at half the price! Time is running out quick so stop what you’re doing and visit our shop now!
Alexandra Pacula’s work may look like blurry photographs taken after a wild night out in the city but they are in fact hyperrealistic paintings. These paintings investigate a world of visual intoxication; it captures moments of enchantment, which are associated with urban nightlife. She is fascinated by the ambiance of the city at night and its seductive qualities. The breathtaking turbulence of speeding vehicles and hasty pedestrians evoke feelings of wonder and disorientation. The vibrant lights become a magical landscape with enticing opportunities and promises of fulfillment.
In our seemingly content society there is a struggle to achieve greater levels of enjoyment. We explore various environments and activities in search of pleasure. Extravagant lights of night environments seduce us to participate in curious events, enticing us to experience new forms of satisfaction.
Discussing her work she states: “I recreate the feeling of dizziness and confusion by letting the paint blur and allowing shapes to dissolve. I suggest motion in order to slow down the scene and capture the fleeting moments, which tend to be forgotten. The sense of motion is intensified with the use of quick vigorous lines and sharp perspectives. By interpreting lights in graphic or painterly ways, I create a sense of space, alluding to a hallucinogenic experience. I want the viewer’s eye to travel within my composition and experience a familiar, exhilarating event of an actual nightly excursion.” (via)
In “Once Upon a Time, We Weren’t Stalkers,” artist Adam Mars creates all-caps slogans for the lost MTV generation. Spraypainted in boldface, each piece could be read any number of ways. Is it tragic? Judgmental? Ironic? How many different ways can you read a phrase like “Gluten Free Cunnilingus”?
In the past, Mars has taken online concerns offline, painting “000,000,001 Views” on a brick wall. The meaning there is clear: The virtual has no context in the real life. A clipped “Good Lay Bad Texter” highlights skewed priorities, and “Your Sex Tapes Need Some Sriracha” is absurdity writ large.
Mars’s latest exhibit seems to take on a different tenor. Though just as cheeky as before, there’s also an underlying nostalgia and a critical eye toward modern predilections. “I Stand By My Uninformed Opinions,” one says mockingly, starkly painted in black on white. Another pronounces, “The Last Offline Lovers” on a speckled candy orange background. In blue, almost sadly: “Longing For Your Divorce.”
Written out in so many words, Mars’s words are a declaration. He’s the man holding cardboard next to the subway, saying, “Apocalypse Tomorrow – 3 PM!” It’s also hard to argue with his sharp-eyed truth. After all, some of us were the last offline lovers.
“Once Upon a Time, We Weren’t Stalkers” is on display until December 20, 2014 at Gusford Gallery in Los Angeles.