Adam Alaniz can make pretty much anything look warm and inviting. The depths of the ocean, the mysterious rainforests–even germs! He draws much of his inspiration from landscapes, fables, science, and nature. For some reason, his paintings, especially Someone Is Calling, reminds me of a cuter version of FernGully: The Last Rainforest, one of my favorite childhood movies.
With funny fake titles that satirize the real thing, Harland Miller paints a colorful collection of paperbacks which function as a shrine for predictable literary personalities from Waugh to Hemingway . . . and he doesn’t stop there. He also gets personal, implicating his own self-titles into the mix, adding a whole other autobiographical subtext that is both playfully light and familiarly bold.
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Victoria Williams, Valley State Prison for Women, Chowchilla, California.
Anonymous , Ionia Maximum Correctional Facility, Ionia, Michigan.
James Bowlin, United States Penitentiary, Marion, Illinois.
Anonymous Backdrop Painted in State Correctional Facility, Otisiville, New York.
Photographer Alyse Emdur offers a fascinating look into the world of prisoner portraiture in her ongoing project Prison Landscapes. If you aren’t familiar with the concept, visitation rooms of penitentiaries have backdrops where friends and family can get pictures taken of/with the inmate to commemorate the time they spent together. Often, these backgrounds are idyllic landscapes that offer the inmate a moment to emotionally escape their sentence. Emdur’s series is two-fold; It features inmates posing in front of these faux scenes, as well as the rooms that the giant paintings inhabit.
There’s a stark and ironic contrast between the prisoner-painted backdrops and the rest of their interiors. “Prison visiting room portraits are constructed to intentionally leave out the reality of prison. The aim of my project is not to be an authority on that which is left out, but to rather make the artifice visible. Although the paintings on the backdrops represent freedom, they are vehicles to control the representation of prisons and prisoners.” Emdur explains to Featureshoot.
To obtain the some of the portraits seen here, Emdur spent years corresponding with inmates. “My role was to document a system that I did not have physical access to. I did this by asking those with access, to send me their own photographs,” she says. The limitation of her available sources adds to the institutional critique of prisons that are inherent within the scope of this project. (Via Featureshoot)
NYC photographer and artist, Martynka Wawrzyniak recently had a ‘Ketchup’ performance piece/exhibition at Envoy Gallery in the Lower East Side. The performance looked pretty fun (for the kids), so I highly recommend you check it out. Oh and if you see Martynka at lunch, I would sit pretty far away from her… she might start a food fight.
Artist Christopher Murphy paints memories, using old family photographs as source material. He paints the Hoover Dam, large family gatherings, his younger self, and more. Murphy’s work is technically very good, and the realistic renderings of his paintings to look like photographs. They also depict quiet moments. While a lot of them involve people, there is very little tension among subjects. Colors are desaturated, which ages the look of them. Murphy spoke to New American Paintings about his work. He describes the overarching theme of his paintings, as well as his decision to use old photographs for reference. He says:
Imagination playfully cavorts with authenticity to fabricate the essence of memory. It is at this intersection, between the poles of fiction and truth, that my current paintings and drawings are situated. Issues of contrast, specifically of finding harmony between dissonant elements, have been a constant theme in my work. I see my paintings as opportunities to explore the conceptual contrasts of reality versus illusory and permanence versus ephemeral as applied to memory.
I choose old family photographs (largely culled from my own family’s albums, but supplemented with a selection of found photos from estate sales and thrift stores) to serve as the basis for my work, because of their unique qualities of semi-permanence, staged semblance, and ostensible candidness. In these photos, skies fade to pale yellows, skin tones sink, and details blur and grow fainter with time. Sometimes, dated technology necessitated blank stares or static poses, caused colors to skew, or impacted the framing of an image. By either exaggerating or minimizing these characteristics, along with re-contextualizing figures and objects or dramatically re-staging the action of a photo, the divisions are obscured between the reality that existed at the moment of the photograph, the memories of that moment, and the possibilities of reality that are presented in my work.