Artist Dave McDermott’s minimalistic approach to collage is what drew me into his work. This Santa Cruz, CA native is now living in New York. McDermott has a very unique interpretation to collage, giving two dimensional black and white photography color and dimension.
Lukasz Wierzbowski is a freelance photographer from Wroclaw, Poland. His photographs exude youthful energy and a sense of humor. With a keen eye for composition and a love for nature his work often features a figure playfully interacting with an environment. The result is a body of work that serves as pictorial allegories involving our relationship with the world around us.
Dogs of all shapes and sizes have hearts of gold, and yet it’s said that black dogs are routinely ignored and denied adoption based on the color of their silky fur. The photographer Fred Levy hopes to shatter negative stereotypes about the dark hued animals, perpetuated throughout our culture perhaps by the ominous depictions of the creatures in media, with the Black Dog Project. Capturing furry friends ranging in age and experience, the artist pins his regal subjects against a black backdrop, narrating a poignant story of canine love and courage.
Set against the soft darkness behind them, the animals appear lonesome and curious. Presumably told to sit for the shot, they cock their heads, let drop their downy ears, and look to the viewer for approval. The moving, miraculous tension in the animals’ bodies recalls the ever-willing canine anticipation the blessed “come,” a nod of recognition, an offer of affection, a release from being alone.
Levy’s stunning lighting records the nuances of the black fur, celebrating the shade that is so often overlooked; the silky stands catch the light in such a way that haloes their faces, gives heavenly, royal meaning to their curved backs and furrowed brows. Levy maintains each subject’s rich personality; the wizened senior Faith perks up her ears, and the therapy dog Max patiently holds our gaze with intent amber eyes.
Says Levy of the project, “I’ve found that it’s really important to share the idea that there are always so many dogs in need of a good safe home, regardless of what the dog looks like […] Maybe someone will see this and consider the gravity of owning a pet, no matter what color it is.” To learn more about the Black Dogs Project, check here, and take a look at some of the enchanting photos below. (via Huffington Post and Design Taxi)
When photographer Klaus Pichler was moving out of his old apartment in Vienna, he noticed something peculiar about the dust on the floor. In the living room, dust bunnies were red while the mitesin his bedroom were light blue. This led to something of an epiphany for Pichler, and he realized that dust isn’t always gray like we so often see – there are varieties. Inspired by that experience, the photographer started a years-long series that chronicles the accumulation of different dust particles. Aptly titled Dust, it recently culminated into a book of the same name.
Pinchler’s dust gathering was similar to collecting specimens to study. He retrieved them with tweezers, placed each in their own Petri dish, numbered, and inventoried them. Photographing the dust proved trickier, and it required Pinchler renting an expensive 120mm macro lense and capturing them all within 24 hours. They were left unaltered and their tiny, exquisite beauty shines in these up-close images.
From police stations to subway stations and pet stores, each gathering of dust has its own idiosyncrasies. The pet shop, for instance, has tiny, brightly-colored feathers and wood chips for the animals. There’s less hair in it than the police station, which has threads, metal, and leaves swirling around in a matted ball.
Kathryn Mayo and Doug Winter, a husband and wife photography team based in Sacramento, collaborate with their models to create vintage portraits, seemingly of the past, using the traditional wet plate collodion process. This type of photography was born in the 1850s, but soon faded from the foreground, due to the proliferation of more practical, less time consuming processes involving dry gelatin emulsion.
However, in today’s fast-paced iPhone app culture, where formatting is clean, easy, and instantaneous, ironically, the slow painstaking process is exactly what this artistic pair prefer about collodion. Mayo elaborates, “Each image takes about 15-20 minutes to complete from focusing the camera, coating and sensitizing the plate, exposing, and processing. So, models need to have patience as not each image comes out perfect, and it takes a few to get one we like–sometimes, there are times when the chemistry isn’t working up to par and we don’t get anything at all.” Regardless of outcome, their passion is not just about product, but discovery and investigation. Mayo continues, “I love the idea of using a process steeped in history and with the ghosts of photographers who have come before me. It is a process that is wholly addicting.”
American artist Jim Hodges has always had an innate ability to impress ideas of time into commonplace objects, whether using napkins for drawings, silk flowers pinned to walls or collections of broken mirrors. In his work, Untitled (2011), metaphors for nature are again followed by human involvement, allowing for reflection from the smallest material interactions.
Comprised of four boulders which are capped with stainless steel veneers in gold, pink, lavender and blue, Untitled finds each stone arranged into a circular environment that directly invokes the viewer’s sense of space. Light and reflection play a role in the viewing, as colors meld and give the stones a surprising airy and weightless quality. Untitled’s colorswere inspired by Hodges’ travels to India, where Hodges was enamored by the intense use of color, as he describes, “this layering, layering, layering of material, to the point where what’s being covered, its identity, seemed to start being erased by the accumulation of color.”
Scale is equally important to Untitled, and speaks to themes of change and impermanence. The works are quite massive, with each boulder measuring close to six feet in height and collectively weighing almost 90,000 pounds. Collected in Massachusetts, before being brought to a fabricators in Upstate New York, the boulders were chosen specifically because they were carved and moved centuries ago by the glaciers which covered the North American continent. While the weightless quality is provided by the translucent hues, and the permanence of the heavy rocks is insinuated, Hodges deftly reminds us that nothing is immovable or permanent.
First displayed indoors at theGladstone Gallery in New York City, the work was then moved to the Walker Art Center’s outdoor grounds to coincide with the Sculpture Garden’s anniversary, as well as an upcoming retrospective exhibition. Hodges retrospective, Give More Than You Take, is currently on view at the Dallas Museum of Art and extends through January 12th, 2014. The exhibition will then travel to join Untitled (2011) at the Walker Art Center. (via walker art center)
You don’t need complicated special effects to make a video interesting. Color Chart Films video for Corduroi is a great example of what a clever concept and simple video editing can achieve. Watch the full video after the jump.
Photographer Will Adler‘s charm lies in his easy, laid back shooting style. Not all of his photos are entirely in focus; some are over exposed, others under exposed, but these imperfections relate his stories all the better. Adler also takes advantage of Santa Barbara, where he lives, by documenting surfers, the coastline, and hilly landscapes.