The best thing about the photographs of Jamie Trueblood is that although they appear to be staged they are in fact documentary style photos of the good, the bad, the beautiful, the ugly, and most often weird events that take place each and every day across America. Trueblood has a natural ability to pinpoint moments of awkward beauty in the everyday and find secret narratives in the mundane occurrences that we all come across as we live our lives.
While many mediums have a constant back and forth debate between an emphasis towards using traditional, conventional methors or more recently available techniques, printmaker Carolyn Frischling does not concern herself with the argument. The Pittsburgh-based artist investigates new techniques in both image creation and printing methods, while continuing to honor the constantly-evolving history of the medium. “I’m proud that printmaking comes out of a long line of democratic, inclusive ideals, that today is at the forefront of technology and creativity.” Like many makers of prints, Frischling uses several simultaneous techniques to achieve the airy and colorful visual textures in her work, differentiated only by the image creation beforehand using computer editing programs. When asked by Beautiful/Decay to explain the benefits of working digitally versus using traditional methods, Frischling first explains, “Digital art enables me to use the same thought processes of traditional printmaking without the toxicity of using traditional materials on a daily basis.”
These moody and ethereal digital works are printed with archival inks on paper, silk, glass and aluminum, heavy with an abstract beauty attached to their process. Frischling further explains her methodology, “Digital printmaking is incredibly nuanced. There is so much more I can do that I couldn’t do in traditional printmaking, although the only reason I understand digital as well as I do, is because the thought processes are the very same. Sometimes I do miss the physicality involved in other kinds of art-making, but my art isn’t about physicality, so I think in this instance,”The medium is the message.”
Ultimately, whether created by physical process or digital manipulation, the works speak for themselves with strong compositions, moody palates, delicate forms and attest to the time spent mastering any artistic discipline. When Frischling explains, “My instinct is always to create movement and energy through use of color and form”, it is a goal separate from process and more located in ambition.
Los Angeles based illustrator and designer Linda Kim’s work is the stuff of dreams – wind-swept scapes just slightly off-beat of reality. Her inspiration comes from direct observation of the actual world, using as many of her senses as possible to create her interprations. I’m particularly excited to see that Linda binds her artwork into beautiful, well-crafted books that act as mini-portfolios!
Whatever Lola wants, Lola gets. You know that anyone who goes by one name is cool as cool can be. So that’s why you should definitely go see Lola’s second solo exhibition, “Ipsum Factum”, at Corey Helford gallery. The opening is on Saturday March 27th, 8-10 pm. But if you absolutely cannot make it out for the reception, the work will be up until April 14th. After the jump, you can get one more sneak peek of Lola’s new work before the show.
“Found antique objects and miniature tintype photos form the emotional core of several works, juxtaposing the musty aura of a dusty attic with smooth, delicate ethereal forms, computer rendered yet exquisitely hand-crafted.”
Brooklyn via Russia artist Stanislav Ginzburg‘s Curiophyla is a series of staged photographs of original sculpture placed within specific, relevant mise en scène environs. The sculptures, beautiful references to cellular anatomy that incorporate emotionally charged vintage (and faux-vintage) tintype portraiture, take on a unique appeal when positioned amongst their ethereal settings. The overall aesthetic perfectly captures an elemental, organic feel (moss, insects, blood, etc.), while the photographic elements within the works offer a distinctly human connection. By reducing things to their most basic, cellular level, Ginzburg illustrates a deep connection between past and present. So beautiful.
From far away, Anthony Sneed’s unique brand of Minimalism instantly calls to mind the reductive elegance of Dan Flavin–or the boisterous, hypercolor modernism of Sol Lewitt’s recent work. However, on closer inspection, Sneed’s seeming hard edged “paintings” reveal themselves to be three-dimensional scultpural works; Modern tromp l’oeils of sorts. Sneed’s work amalgamates the conceptual framework of the Minimalist tradition with Op Art’s investigation of the relationship between illusion and picture plane, movement and depth, reality and perception. In this sense, Sneed’s work calls to mind Tony Smith’s geometrical modules, in his capacity to create drama through simplicity, scale, and revealing what is not there.
Ever wonder what it actually looks like when you’re making out – really going at it – tongue and all? One photographer took it upon himself to shoot couples doing just that. Often tongue on tongue action can be kind of grotesque, and rarely are we given the chance to examine it closely. Participating is always a good time, but witnessing from a relatively objective perspective – as someone not really invested – is kind of odd, and definitely uncomfortable if you linger too long watching. In film, if you’re lucky, you see a big juicy tongue slide its way in between hungry lips, but just for a second then it’s gone. Whether in public or in document, it’s hard to get up close and personal with a kiss when you’re not one of the ones doing it.
Rankin, a publisher, director, and commercial photographer living in London, set out for closer inspection of the French kiss in his series Snog. The most compelling of the images is one where you barely see the faces of the couple, just a hint of nose, some stubble around the mouth, and some foundation overtop the occasional blemish. You can feel the intensity of the kiss, as one lip lifts the other to reveal a bit of tooth, and the tong in front veers right as the other presses against it.
What Rankin achieves that others don’t is a balance between staging and reality. He maintains an appealing aesthetic while still staying true to the sentiment of french kissing. The funniest is the older couple both staring back at the camera. It looks on the one hand totally unnatural, but then it also seems to be something so appropriate for the character of the couple. It looks like their tongues are holding hands. (via Feature Shoot)