German photographer Thomas Kellner‘s contact sheet photo montages deconstruct iconic architectural landmarks and cityscapes. Each of Kellner’s frames are shot sequentially, then printed in the film’s exact order – no cut/paste or digital manipulation – before strips are cut and then placed together. Each final contact sheet montage’s size depends on how much film Kellner uses for his subject – with one roll of film, the montages are only 20 x 24 cm. Kellner first began descontructing architecture using the contact sheet method in 1997, and since 2003, has been photographing and decontructing buildings around the world.
Of his work, Kellner says, “I think I am more of an artist than a photographer. At the moment I am working on architecture, but it is not classic architectural photography. There are definitions in art about ‘construction/deconstruction’ or ‘collage/decollage,’ but I don’t think any of it really fits what I am doing right now, maybe my work is closer to conceptual art or conceptual photography. Many have said it is ‘very Germany,’ and that might be closer.” (via art chipel)
HUH. Magazine is a new free zine coming out of the UK. The color newsprint showcases some pretty neat art and photography from all around the world. You can find the dope zine in bookshops and galleries in London, NYC, Stockholm, Paris, and Chicago. Plus if you order it online, all you need to pay is postage. Pretty legit.
Russian underwater photographer and biologist Alexander Semenov has created a new series of images that brilliantly captures a variety of deep sea worms known as polychaetes, some of which may be unknown to scientists. Semenov has spent many hours diving in places like the White Sea and Great Barrier Reef in Australia in order to get up close and personal with this creepy, crawly sea life. Altogether, Semenov photographed 222 different species of polychaetes that are currently being studied and documented by scientists.
Semenov first began photographing sea life for fun while organizing the White Sea Biological Station underwater projects. Using basic photography equipment, he’d get a few good shots every few months, and this eventually encouraged Semenov and his team to acquire more professional equipment. Semenov now produces images like the ones seen here, as well as a series of jellyfish and tiny creature images are all just as stunning. (via colossal)
Turkish filmmaker Oguz Uygur has gorgeously captured his parents’ delicate craft of erbu, also known as paper marbling. To create these beautiful patterns, first a tray is filled with water. Next, paint or ink is spilled, dabbed, dripped, sprayed, fanned, and/or pulled across the surface of the water. Sometimes additives and chemicals are applied to the mixture to create various textures. Thin wires are used to pull paint or ink into intricate patterns, with deliberate care taken for each design. Finally, a piece of washi paper is placed onto the water/paint surface with the intent to stain the pattern onto the paper. The paper is then allowed to dry before being used for calligraphy, book covers, and endpapers in bookbinding and stationery.This marbling method was first developed in East and Central Asia, as well as the Islamic world and is currently an important part of Turkish, Tajik, Indian, and other Asian and Middle Eastern cultures. Some of the marbled designs and patterns are reminiscent of the woven carpets typically found in similar regions. Uygur’s short film captures amazing detail and depth of field using close-up shots demonstrating the intricate attention paid to this form of aqueous surface design. (via art and fury).
To celebrate the launch of our latest Spring 2010 apparel line, we organized a weekend fashion shoot, on our very own rooftop of the B/D offices here in beautiful downtown LA. The result was our Spring 2010 lookbook, which has been getting some great reviews amongst our fellow bloggers! So, we’ve decided to round them up here and send some of the love back for all the great things they’ve been saying. Check out some quotes after the jump!
Elaine Reicheck is a New York-based artist who uses embroidery to explore conceptual and aesthetic ideas in art. Though she has a background in painting, actually receiving an MFA from Yale in the subject, she began to question her training and wonder what kind of statement she wanted to make with her art. Though she experimented with knitting wool, hand-paining found photographs and other techniques, embroidery emerged as Reicheck’s material of choice. She creates beautiful works on linen using needle and thread.
Though she does quite a bit of her work by hand, Reichek also experiments with computerized sewing. She doesn’t feel this is a shortcut in anyway, as her work is as much about the concept as it is the end result.
There is also an undoubtedly feminist aspect to Reicheck’s work. She attributes it to working with so many male painters during her training. Embroidery, a historically feminine pastime, allows Reichek to explore the same ideas as her male painter counterparts, but, as she says, “if I make them that way, of course their meaning changes, since the meaning of an artwork is always bound with its media and processes and their history.”
Usually selecting a theme to base a series around, Reichek’s latest embroiders consider the myth of Ariadne. Ariadne gave Theseus a ball of thread with which to retrace his steps allowing him to escape the Minotaur’s labyrinth. Reichek created art-historical portraits, many of which contain Araidne’s image, and paired them with quotes from literary sources such as Nietzsche or Catullus.
Ryo Yoshii is a Japanese artist who produces beautiful and evocative watercolor portraits. With an impressive control of the medium, Yoshii is able to capture the minute details of the face — such as the lines around and light within the eyes — while also introducing a surrealist blur: hair melts into the paper, tears streak and divide the body, animal faces are fractured over top of human ones. In a haze of dreamlike pastels, the portraits express both external character and internal life, unveiling moments of deep introspection.
Brimming with depth and sensitivity, Yoshii’s work can be read as metaphorical explorations of inner emotional worlds. Despite the stoic faces, which steadily meet the viewer’s gaze, there are signs of fluidity and instability within. The unpredictability of the watercolor medium lends perfectly to this depiction of inner turmoil and intensity, as the colors — much like our emotions — bleed invisibly from the body into the surrounding environment. As expressed in the beautiful blend of colors, no emotion exists in singularity in Yoshii’s work; instead, everything fuses together in a spectrum of experiences.