For her series AMMO, Sabine Pearlman documented a collection of World War II era ammo with some 900 images. The bullets are bisected to reveal its inner workings, like some kind of munitions autopsy. The simple compositions burn off the vaguely violent shroud that envelops the images of bullets and their symbolism. Instead, Pearlman presents the purely technical mechanisms of war, a reification of weaponary. The photographs reveal the surprising amount of innovation and craft dedicated to causing physical harm. [via]
In today’s economy, it’s not uncommon for recent college graduates to move back home with their parents. According to The New York Times Magazine, 1 in 5 people in their 20’s and early 30’s find themselves in this particular situation. The phenomena is fodder for photographer Damon Casarez’s recent series Boomerang Kids, which was shot in eight states and over 14 cities. His poignant images paint portraits not of people who are lazy, but those who have massive student debt, or see their current situation as a means to achieving their own American Dream. They exist in a strange limbo where they’ve grown up but still aren’t entirely self-sufficient adults.
Even for those not living at home, this series might resonate with you on some level. Student loans and a general high cost of living can make anyone feel like it’s hard to make the ends meet. After all the possibilities offered in college, the real world is generally not as kind. But, these images don’t feel hopeless; they feel hopeful and demonstrate the changing landscape of growing up. (Via Feature Shoot)
Jamie Campbell works with the themes of insecurity, burden, vulnerability and desperation, but does it with self-deprecation and humor and profound honesty, leaving you unsure of whether you want to hit him or hug him. Our favorite images by Jamie are of the ghosts wandering around and the living who are stopped in their tracks and drawn into the light.
A Love Letter For You is the name of the current project by NYC graffiti artist Steve Powers, aka ESPO. A recent recipient of a Fulbright grant, Powers is using the money to make these beautiful murals around Philadelphia with the help of local teenagers. The murals, which are clearly very heavily inspired by 20th century American sign painting/vernacular graphic design, are some of my favorite pieces of street art I’ve seen in a while.
It’s time for our weekly exclusive artist feature in partnership with premiere website builder Made With Color. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Made With Color is a website builder that helps artists create gorgeous websites and allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work and website of Evelyn Henriquez.
The Water Box series was conceived by Evelyn Henriquez as a further exploration of the body, specifically the female form, portrayed in a moment of struggle and perhaps transformation where the lines between fear, anxiety, comfort and resolution become blurred. This initial idea translated into images of an adult woman confined to a 48″ x 15″ x 17″ fish tank. In each instance, the model was left to reconcile herself with the water, the tank, and ultimately with her own body. The resulting images capture this process; a psychological, emotional, and physical state that, though under the watchful eye of the camera lens, magnifies the isolated, insulated, and at times meditative state of each model.
Artist Josefina Concha, with the aid of a sewing machine in lieu of a brush, weaves her work into being. Full of texture and threaded messy shapes of color, her stitching fascinatingly harkens back to Mark Tobey’s thoughts on abstract expressionism: “A painting should be a textile, a texture. That’s enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that’s what I’d rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up. Bringing it up. That’s what is difficult.”
However, of her own approach, Concha strives not just to simulate, but replace painting with crafting techniques, a medium formerly equated primarily with domestic labor. She explains, “The building of my work is articulated through the investment of a material (the thread) on a piece of cloth, and the time dedicated to sew it. This is made visible in the superimposition of weaves that in short will generate a thickness (body) and a sensation of volume, dominated by the treatment of color and optical mixtures, to which I turn to with the eagerness of creating suggestive images that appeal to the ephemeral.”
The slick site specific installations of Megan Geckler beam and bounce of walls like lasers. Her installations’ ultra clean geometric forms and bright colors nearly hide the personal quality to the work. The plastic rays are actually made of flagging tape – the kind you find just off the sidewalk typically used by surveyors. Her installations intentionally bounce between art and design, industrial and hand made, cold and personal. Also, just as her work shifts conceptually, it also shifts in shape from angle to angle. Strands at one angle interact with strands at other angles as a viewer moves through the space. [via]
Brendan Lott is a painter, sculptor, and exporter of services. These works (which you can see at San Francisco’s Baer Ridgway Gallery starting Oct. 17) began as an attempt to bring his practice in line with his life as a person living in 21st century America – he has no direct input into the development or manufacture of any product he consumes, other than to consume it. He finally abandoned his studio practice and began to spend his art making time collecting digital snapshots anonymously from peer-to-peer file sharing networks. Out of tens of thousands of snapshots he looks at, he selects just a few and email them to professional painters living in China. They reproduce the image in oils and send the painting back to him. (The above text was adapted from his website’s about page.) I wonder what these Chinese painters think as they’re working on these snapshots in varying degrees of gluttonous “American” fun aside from the fact that they are the extreme opposite of misty mountain ranges and philosophical poets?