The advent of Google maps was eventful for the general public – it became the first time most of us had access to these views of earth. However, it also turned out to be problematic for some governements. Some governments obscure areas they deem too sensitive to appear on Google maps. This is generally done by simple blurring or covering an area with a white or black box. In his series Dutch Landscapes, Mishka Henner presents the unique censorship of the Dutch countryside. The Dutch forgo simpler censorship methods for a strangely attractive one. Variously shaped and colored polygons cover sites the government would rather keep off the map. Inadvertently (or perhaps intentionally) the Dutch government abstracts the landscape in way that fits in well with an artistic tradition.
Dylan Wooters is a photographer and writer from California, living in NYC. His photographs depict his encounters through the various cities he has lived or traveled to. Mr. Wooters has also followed the Bay area graffiti scene and taken numerous photos documenting his experience. Check out his Flick’r account, as well as his website, for more of his photos and writings.
The work of Hungarian photographer Mate Moro is cool, nearly cold. His photographs carry an modern fluorescent cold – even the bodies of his subjects don’t lend much heat. They nearly seem to act as objects just as other objects in the images interact with the scene. Slightly surreal, his work is disconcerting like a waking dream in which something is vaguely out of place. Moro has a talent for composition – coupled with obscured faces the viewers eye never seems to settle on just one place in the photograph.
Aleksandra Domanović deals with sculpture that echoes monuments from the past from her native (former) Yugoslavia. While some sculptures take on more traditional forms of post-Communist leaders, the Berlin-based artist also began experimenting with unique materials in her work. 19:30 Stacks was created by piling size A3 and A4 paper with photos printed on their sides with ink-jet printing. First creating a massive PDF file of a photo, Domanović set the printer to ‘border-less print’ setting, which coated the ends of each paper, and when stacked upon each other, revealed the finished image.
For a time this work was open-sourced so that anyone could make one for themselves by downloading the file (now broken), printing it out, and then placing it between 1500 empty pages on the top and bottom of the printed stack. According to her artist statement, Domanović’s “work focuses on profound social and media-technological transformations, and their interdependence. Some of her projects give form to the relationships of meaning imposed by archival models. Others suggest alternate models that draw on her observations of shared memory and feelings of community. Domanovic uses material related to her autobiography — the television, music, and monumental art of Yugoslavia — as well as materials that claim transcendence of the personal and national, such as Getty Images’ database of stock photography and (on the blog Vvork, which she co-edits) international contemporary art production.” (via u1u11)
Carnegie Mellon grad Cassandra C. Jones makes work that embraces the digital photography + social web revolution to the fullest extent. She combs the web for pictures that fit whatever project she may be working on (above, wallpaper made entirely from images of flamingos), many of which end up being amateur digital snapshots uploaded to Flickr or other photo hosts. Taking this found photography, she creates art – sometimes smart, sometimes clever, sometimes thought-provoking compositions.
Cassandra C. Jones was recently featured on BoingBoing Video. The interview, which I highly recommend watching, is after the jump, along with some more images of her work.
Since Japanese photographer Kimiko Yoshida “fled [her] homeland to escape the mortifying servitude and humiliating fate of Japanese women, she seeks to take a feminist stance in protest against contemporary cliches of seduction” and the general stereotyped portrayal of women-hood. Her self portraits transform and that to her is the ultimate value of work.