Am I crazy or are Maldo Nollimerg’s drawings extra creepy but in a good way?
Am I crazy or are Maldo Nollimerg’s drawings extra creepy but in a good way?
“Shiloh” is a creative short film that uses dance footage and bursts of colored powder to explore self-identity. Created by Brooklyn-based production company Dreambear with director James Hall, “Shiloh” is a unique and contemporary fusion of dance, film, and visual art. The short narrative begins with dancer Shiloh Hodges crouching and swaying ritualistically in a spotlight. As the music picks up, she rises and moves into a fluid dance while dust falls from her shoulders. With each beautiful flourish she throws colored powder into the air, which is captured in beautiful arcs by the slow motion footage.
“How can we present our identity through art?” the video description asks, seeking to articulate what makes art such a powerful outlet for self-expression (Source). Emerging from Shiloh’s own difficulty in exploring personal identity in the oft-competitive and critical field of dance, the short film wordlessly answers this question; with a powerful self-awareness, her body resists the surrounding darkness as it moves seamlessly with the uplifting music. The rainbow-colored powder she throws evokes a spectrum of emotions, from joy, to love and self-care, to a tinge of sadness. Accenting her skin are beautiful, drawn-on “fractures,” making it appear as though the coloured powder comes from within, symbolizing her internal, heart-based experiences.
Accompanying the short film is a portrait by renowned Madrid-based artist Gabriel Moreno. Moreno became a collaborator on the project when Hall reached out to him and subsequently produced the art piece featured in the film’s final scene. As in the film, depicted in the illustration is an overlay of multiple emotions and experiences; beneath the central portrait are different outlines of Shiloh dancing. As in his other works, Moreno uses bursts of color to dramatically punctuate the illustration. Together, the film and portrait explore self-identity across mediums, immortalizing Shiloh’s beautiful dance as a powerful fruition of creativity, talent, and strength.
Nøne Futbol Club is a duo of Paris based artists. They work in a wide variety of mediums and forms from video to installation. However, nearly all of their work seems to be tied together by a certain mischievous sense of humor. Though not always overtly political, the duo’s art is definitely subversive. For example, consider Lift a Finger, the first piece pictured here. The maneki-neko, usually a statuette of a welcoming or beckoning cat suddenly becomes hostile with a simple change of hand gesture. The pharase “KEEP WARM BURNOUT THE RICH” is turned into a branding iron. The implement not only burns, but more importantly is a tool for displaying and designating ownership.
Nicolas Rosette goes onto describe the duo’s practice saying:
“Nøne Futbol Club is a duo that is capable of mobilizing as many accomplices as necessary to make their works and performances.
The playful component is inseparable from their creative process which tackles the world like a playground for the expression of an art whose nature has continually bordered on the cellophane of the white cube and the great palaces must take the risk of being a mass distribution product. The recursive principle in their work is reversal. It is not about diverting elements from pop culture(or popular culture, the term changing depending on whether this culture comes to us from one side or the other of the Atlantic Ocean) but of a reversal whose final address is always popular culture. A double inversion, whose process of revelation reflects back to us as in a mirror the possible destiny of an art world which has become less subtle than the current popular media cultures; whose practices of critical and jubilatory diversions are the foundation. Would the Nøne Futbol Club be applying to contemporary art what digital cultures have subjected Chuck Norris, the pope and Darth Vader to?”
The work of Australian photographer Bill Henson is a sensual journey into a dark, sensate, and ephemeral world. He is well-known for traversing and troubling the lines that demarcate time and space, identity, and artistic genre; as stated on the Tolarno Galleries website, he is an “explorer of twilight zones, between nature and civilization, youth and adulthood, male and female. His photographs are painterly tableaux that continue the traditions of romantic literature and painting” (Source). The mottled and dewy skin of his emotionally-rich subjects resembles the classical, artistic technique of chiaroscuro, wherein deep and murky shadows are used to create bold contrasts that illuminate the body in dramatic compositions. Similar to how your peripheral vision dims when you look at something bright in a dark room, the arched backs and turned faces of his models become the semi-obscured focus in his pieces, shrouding them in even more emotive and intangible beauty.
Henson is not without controversy, however. His work received a lot of criticism in 2008 due to complaints of indecency; his accusers deemed his images of nude teenagers as exploitative and inappropriately sexualized. His photographs were seized from exhibitions, and a public debate erupted regarding censorship. Later that year, it was settled. He would not be prosecuted, and the Australian Classification Board declared his work as “mild and justified” (Source).
Henson’s photography may evoke a sense of discomfort in some people, but to others, it resonates as passionate and melancholic portraits of youth. Many of us can probably relate to his imagery — those nights in our early adulthood, where we began to explore the possibilities and materialities of our post-pubescent bodies, connecting to them without shame, becoming self-aware of our own physical beauty, expressivity, and depth. Even his images of two or more models interacting do not seem pornographic; instead, we see people reaching, touching lightly, seeking connection, discovering the quivering electricity of the body when it comes into intimate proximity with others — the power of touch. Such nights and experiences remain forever in our memories. In this way, Henson’s work is less eroticized voyeurism than it is an exploration of our physical and emotional development.
A vast selection of Henson’s work from across the years can be seen at the Tolarno Galleries website, found here. Check out the rest of the dim and sensuous images after the jump, and please let us know how you respond intellectually/critically/emotionally to Henson’s photography in the comments below. (Via Juxtapoz)
Photographer Bernhard Lang captures an aerial view of the Opencast Coal Mining Pit in Germany, which is one of the largest man-made holes in the world. At nearly 1,500 feet deep and covering almost 22 square miles, everything is at a giant scale. Massive machinery, the size of a 30-storey office buildings, scoops out coal, sand, and dirt to mine and move it about.
It’s hard to imagine something of these proportions, and through Lang’s sweeping landscape photography, he minimizes its grandiose scale. When looking down rather than upwards, it’s hard to get a sense of just how big these things really are. At times, they look like patterns of ant farms rather than the handiwork of humans. Perhaps it’s part of the point to say that these hulking machines and sprawling cleared paths aren’t as important as we’re lead to believe.
The real visual impact of these photos comes from their abstract qualities: the different colors of dirt that have been piled next to one another; the lines that are made by machines as they drive down the road; and the hills and valleys themselves. Through Lang’s careful framing, he’s captured their unintentional beauty.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ article on Photographer Daniele Buetti.
In his new series oh boy oh boy, photographer Daniele Buetti, utilizes existing documentary photos of terror, war, and conflicts, and transforms these troublesome scenes into abstractions reminiscent of mosaics and stained glass windows.
Through this work Buetti exposes the viewer to scenes such as those from Abu Ghraib and Guantánamo that many have become desensitized to through repeat and constant media exposure. He uses many different filters to distract and distance us from the original scene as he strips away large parts of original information in favor of an immediate beauty— thus presenting a new way for these images to be seen.
oh boy oh boy will be on view at Bernhard Knaus Fine Art from August 31, 2012 until September 20, 2012.
As glossy, digital, full color perfection becomes the norm on brochures and other printed matter, the photocopier has become more of an artistic medium than a simple reproduction system. Jakob Johnsen’s collages and image manipulations are sublimely composed and pull on dark, thought-provoking subject matter.
As with everything else in life technology is changing the way fashion is created, documented, and finally consumed. Long gone are the days of discovering small brands by accident while on vacation or stopping someone on the street to ask them what designer they are wearing. In todays world everyone has immediate access to everything and small fashion brands, stylists, and writers only need a few minutes to create a website or youtube channel and share their vision with the world.
In this short film “Future of Fashion” i-D explores the way in which the internet and technology is transforming the industry. Supermodel Coco Rocha recounts her experiences of multimedia catwalk performances while Net-A-Porter’s Natalie Massenet talks e-commerce; i-D’s New York Fashion Director Alastair McKimm explores 3D printing, fashion designers threeASFOUR predict the future of wearable tech, and internet wizards OKFocus explain how computers can revolutionize fashion as much as photography has. Join these fashion luminaries as they share stories of fashions yesteryear and discuss how technology will influence fashion in the future.