Photographer Abelardo Morell brings that outdoors in in his series Camera Obscura. Morell installs a lens or prism in a window and transforms an entire room into a camera obscura. The view outside is then projected on the opposing wall – upside down through the lens and right side up through the prism. A long-exposure photograph captures the outside world as its projected within the room. He says of the process and series:
“Over time, this project has taken me from my living room to all sorts of interiors around the world. One of the satisfactions I get from making this imagery comes from my seeing the weird and yet natural marriage of the inside and outside.
I imagine the inspiration for !!!’s Jamie, My Intentions Are Bass video is 70’s porn set meets 2010 hip motion reel meets Miami pool party where a spontaneous performance piece by a recent MFA takes place.
Hamidou Maiga’s career as a photographer was launched in the early 1950s when he purchased his first camera, a medium format Souflex. At the age of twenty he learnt the rudiments of photography and printing through photojournalism, and in 1958 Maiga opened his first studio in N’Gouma. For two years he traced the route of the River Niger developing a clientele for his distinctive outdoor studio portraits. In 1960 he returned to Timbuktu with a successful business.
Stephen Mallon’sNext Stop Atlantic is a stunning series of photographs, which capture the retirement of hundreds of New York City Subway cars to the depths of the Atlantic Ocean.
In a bold move, the NYC Transit authority joined the artificial reef building program off the East Coast of the US in 2000 and sent stripped and decontaminated subway cars off on barges to be dropped into the Ocean in order to build refuge for many species of fish and crustaceans which would colonize the structures.
Mallon traces the progress of the train cars on their way towards their last voyage, majestic waves approach the viewer in these large scale photographs as they too are transported out to sea to behold the lifting and transfer of these massive machines. One photograph hauntingly depicts elements of nature creeping into their barren hulls, drifts of snow lines the walkways, a glimpse of sunshine streams through their removed doors as they wait in stacks to be carted off to sink to the dark depths of the ocean floor.
Mallon’s photographs elicit both the sadness and the beauty of cascading water overtaking these iconic figures of New York transit as they sink beneath the surface of the water; surges and sprays are caught in time. Stephen Mallon dedicated the last three years to following this endeavor, chronicling the last phase of NYC Transit’s involvement in this program. The photographs that are presented in this exhibition capture the grandiosity of this effort; the weight of these 18-ton train cars can be felt as they are ferried off and plunged into the water.
Beautiful/Decay just released seven new designs just in time for Fall! Artists Colin Strandberg, The SickSystems, Ben Tegel, Jessica Hische and Official Classic created some stand-out graphics you have to see to believe!
There is something intrinsically fascinating about seeing the ordinary created in new, surprising ways. Artist have long used this technique to make their viewer contemplate new connections and possibilities, and the internet has proven to be a particularly useful tool in spreading this type of work. South Korean artist Seon Ghi Bahk is an expert at this method. Using charcoal and other natural materials en masse to form familiar objects, Bahk reminds of us the connection between man-made goods and their source.
Bahk’s precision is absolute, meticulously hanging large groups of charcoal at specific heights to collectively echo architectural and building elements, such as stairs, columns, shelves and planters. Using translucent nylon thread to hang individual pieces gives each installation a floating quality, further separating them from their everyday inspiration.
In an interview with the Korean Art Museum’s Korean Artist Project, Bahk explains how he came to use charcoal in his installation work. “I first used stones as materials for the installations…but the supporting structure and installation became unnecessarily large and overwhelmed the stones so I replaced the stones with charcoal. Since I spent my childhood out in nature, I wanted to embrace natural things in my work. I found that my favorite things in nature were wind, mountains and trees. But it was difficult to express wind or mountains in my work, so I chose trees as an alternative, and charcoal comes derives from that…now I seek natural encounters between man and culture…I emphasize the materiality in its poetic shapes.”
If you are lucky, once in a while you find an artist that helps you remember why you started getting into art in the first place. I first saw Dave Muller’s work in 2004 at his show ‘I Like Your Music’ at Blum & Poe, and at the time was just a fresh-faced college kid, only beginning to think about getting involved in the fine arts. I walked into this room full of his drawings of massive record sleeves – vibrant, colorful, and full of life – it was one of the first times that I remember feeling truly enthusiastic about art, not simply because I thought it looked cool, but because it seemed to speak to something about life that I was really excited about. It was a turning point for me in the way I interacted with art, and I’ve never thought about things the same way. For me, Dave Muller’s work is all about the good things that make life worth living – good music, good friends, a little messy, a lot of color, and a lot of fun. Dave has been one of my favorite artists since that fateful day, so I was thrilled to have the opportunity to talk to him about his work, his alternate life as a DJ, and his recent wall drawing at the new Cowboys Stadium.