Deconstructed Photography: Joseph Heidecker And Four Other Artists Redefine The Photograph

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Joseph Heidecker

Matthew Brandt

Matthew Brandt

Soo Kim

Soo Kim

Nelson Crespo

Nelson Crespo

Since the first photograph, photography has ushered forth in producing a consequential depiction of truths through the containment of fleeting moments in a tangible and archival format. Instances in time are revealed as light falls upon sensitized paper, asserting the presence of each photograph’s content. The picture plane remains uniform, constricted by its own variable, physical dimensions: a synthetic simulacrum of a three-dimensional reality that will forever remain in constant flux. And yet, in spite of presenting elements of proof based within reality, the upheaval of the actual authenticity of the photograph has found itself under siege.

Through a variety of executions, the following artists working with the photographic medium twist this truism in unique and awe-inspiring ways, abolishing preconceived notions of photography through a re-presentation of the photograph. In their reconsideration of the ordinarily static picture plane, form is pushed beyond the confines of the image through the destruction, manipulation or interference of the photograph.

Featured artists include Joseph Heidecker, Matthew Brandt, Soo Kim, Eileen Quinlan and Nelson Crespo.

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Haunting Knitted Animal Pelts Draw Attention To the Plight Of Endangered Species

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Stretched and bound over wooden frames, the animal pelts of Australian artist Ruth Marshall are so utterly realistic looking that it is difficult to believe that they are not in fact fur and hide. Constructed out of knitted yarn, they compel us to consider the endangered species killed and skinned by poachers and collectors. Though illegal, the devastating skin trade has taken the lives of thousands of tigers in the past thirteen years, leaving only an estimated 3,200 tigers in the wild. Before poaching practices, deforestation, and other damaging factors contributed by humans, there were approximately 100,000 of this magnificent creatures around the globe.

Marshall learned of the plight of wild cat species while working at the Bronx Zoo and the Wildlife Conservation Society, an experience that moved her deeply. With her Big Cat Series, she hopes to provide a sustainable and humane alternative to tiger, leopard, and jaguar pelts. The nuances of each life-sized work is touchingly based on a real animal, whom the artist became acquainted in captive conditions. A few are modeled after skins owned by collectors. The project effortlessly illustrates the value of artisan work, which ultimately could hold higher commercial value than black market pelts.

Here, Marshall transforms a cruel practice into a labor of love. Where animal pelts have come to represent a cruel and grotesque opulence and greed, she introduces knitting, a craft associated with nurturing and care. As a result, her pieces are both disarming and lovely,a refreshing jolt of sustainability and activism. To learn how you can help save the tigers and other animals, please visit World Wildlife Fund and the Wildlife Conservation Society. (via Dark Silence in Suburbia)
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Heather Cassils And Three Other Artists Present Alternative Narratives Of Female Sexuality And Identity

Heather Cassils

Heather Cassils

Laura Aguilar

Laura Aguilar

Aimee Hertog

Aimee Hertog

In the digital age and generation of the selfie, a spiraling and often disorienting importance placed on consumerism and commodities permeates even the most remote of regions. Through the billboard jungles and beehive of mass media, images relentlessly promoting youth and sexuality haphazardly depict ideals of femininity. Creating a wormhole of inadequacies, the female form has found itself in a constant tug-of-war in either defending its natural state or scrambling to correct propagated notions of aesthetic shortcomings. As Barbara Kruger famously stated on one of her notorious gelatin silver prints from the 1980’s, “You Are Not Yourself”.

The following artists featured turn these preconceived notions on their head while reconstructing a refreshing narrative of female sexuality and identity. Featured artists include  Laura Aguilar, Aimee Hertog, Heather Cassils, and Marina Santana.

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Eddy Stevens’ Magical Paintings Capture The Bond Between Woman And Horse

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In his soulful, surreal paintings, Eddy Stevens imagines a world dominated by intuition and emotion, abandoning the mundane for an ethereal landscape dominated by female sensual power. In his wondrous vision, the woman, a heroine modeled after his wife Sophie, sheds her clothes, forging a primal connection with the natural world. The horse, in his majestic equine glory, mirrors the innocent nakedness of the woman, his massive muscles rippling parallel to her bosom.

In Stevens’s evocative images, raw, exposed sexuality is a source of spiritual strength rather than shame, fueling miracles like levitation and mysterious candle lights. Here, the domestic space of the house cannot contain the divinity of woman, and its walls crumble at her feet; she, like the horse, is free to roam infinite wildness.

Stevens’s cornerstone motifs, the nude female and the white horse, are reminiscent of the work of surrealist master Salvador Dalí, whose 1946 painting The Temptation of Saint Anthony also imagined the gift of levitation. But Stevens’s impressive body of work differs in its treatment of the nude and the equine creature; where Dalí presents them as perverse and frightful temptations, both symbols of the desires of the flesh, Stevens depicts them tenderly, as embodiments of purity and strength. This vision is perhaps most fully realized in “Birth of a Dream,” a painting depicting a trinity of nudes following a horse as he ascends into the clouds above. In a stunning reversal of Dalí’s imagery, the parade is shown from the back; instead of falling to earth, they climb to the holy heavens. Take a look. (via HiFructose)
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Anna Marinenko Matches Sound Waves With Their Environmental Manifestations

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Merging sound and landscape, Ukrainian architect and designer Anna Marinenko has created a series of images – called “Nature Sound Form Wave” – that presents juxtapositions of sound waves alongside panoramas of sky, water, mountain, and tree lines. Marinenko’s pairings demonstrate the synchronicity and parallels to be found in different patterns among natural and manufactured designs, the similarity between the forms remarkably uncanny. Because Marinenko meticulously lines up the designs and maintains the same color palette throughout the images, ocean waves, flight paths, and landscapes appear to be transforming into the sound waves, the transition nearly seamless. (via design boom)

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Astounding Close-Up Photographs Of Animal Eyeballs

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Husky Dog

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Kramer’s Parrott

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Discus Fish

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Horse

For his series Animal Eyes, the Armenian photographer Suren Manvelyan captures close-ups of animal eyeballs belonging to diverse creatures, revealing both the complexity and universality of the organ. Beneath his macro lens, these small circular organs appear paradoxically vast; at times, their curved surfaces resemble the entirety of planet Earth as seen from space, cloudy with ribbons of pigmentation. Here, the eyes, considered to be windows to the soul, reflect back a cosmic realm that evokes the metaphysical, but at the same time, they are startlingly material. The pupil, a seeming abyss ascending into the unknown, is cushioned by substantial tissues that ground us firmly within the corporeal world.

Though the species shot here vary immensely, a comforting uniformity emerges from the images; through the changes in iris hue and pupil dilation, there is a shared urgency in each gaze, a sweeping desire simply to see. The horse, his eyes veiled in straw-like lashes, fixes the lens with the same intensity as the hippo, whose wrinkled, fleshy eyelids peel back. Where most photography relies upon the assumption that we may watch without fear of being observed ourselves, Manvelyan’s images inspire within us a sense of being seen; are these opened eyes, these celestial orbs, looking back at us? What do they see? Check out the artist’s photographs of the human eye here. (via Agonistica)
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Marcus DeSieno’s Beautiful and Terrifying Photos Of Microscopic Parasites

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It is fair to assume that while most of us know that our world, our living spaces, and even our bodies are covered with microscopic organisms, we do like to not be reminded of it. Photography student Marcus DeSieno’s recent photoseries begs to differ, offering a beautiful yet disturbingly close look at our microscopic natural surroundings. Parasites is an ongoing project “investigating a history of scientific exploration through images of parasitic animals.” Taken with a Scanning Electron Microscope and then exposed onto dry plate gelatin ferrotype plates, a process which combines classical and cutting-edge photographic techniques. The final images are archival pigment prints from the scanned ferrotype plates and printed larger for these abject animals to confront the viewer at a one-on-one scale.

“Photography and science have had an intrinsic relationship since its’ invention in 1839. It did not take William Henry Fox Talbot long until he was using his calotype process to capture what was under the lens of his microscope. The indexical nature of photography has pushed the reaches of science ever forward into the 21st century. These technologies allow us to peer in to the unexamined corners of the natural world reminding us that the universe around us is much greater than ourselves. In this realm of scientific curiosity, photography has a intriguing relationship with the invisible, allowing us to see the world that we cannot. Parasites explores these themes of science and wonder and, at the same time, confronts a personal fear of these parasitic organisms that attach themselves to humans. Embedded in the work is an engaging dialog with photographic history, its\’ shifting modes of representation, and its’ material possibilities. Parasites investigates the role of shifting photographic technologies in contemporary culture and their abilities to capture a mysterious and unseen world.”

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These Otherworldly Fungi Have To Be Seen To Be Believed

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The Australian-based photographer Steve Axford captures some mind-boggling fungi, including tropical mushrooms that had likely not been caught on film prior to these images. Compelled to adventure into obscure places left unexplored by most men, the artist documents strange organisms, many of which are found in his native area, the Northern Rivers region of New South Wales. A number of species exhibited in his body of work exist in more temperate zones, like Tasmania and the state of Victoria.

Axford, a retired computer system designer and manager, hopes to marry science and art. His photographs, in addition to being beautiful, are useful in the identification and cataloging of species previously undocumented. Prior to Axford’s efforts, the hairy mycena, a snowy white mushroom with a fuzzy cap and a translucent stem had not been spotted or archived in Australia. The same holds true for the blue leratiomyces, a plant native to New Caledonia and Lord Howe Island.

Seen here in striking detail are the most uncanny of fungi species, each enchanting in its own magical way. Some are bioluminescent, glowing an electric green in the night air; others are impossibly delicate, sprouting elegantly from moistened tree trucks. Unexpected colors spill into nature’s canvas with the growth of purple, blue, pink, and bright red mushrooms. The artist explains that photography has gifted him with the opportunity to slow down and absorb the earthly wonders that surround him; in shooting these strange, spindly lifeforms, he gives us the opportunity to do the same. Take a look. (via Colossal)
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