In the continued blurring of borders between the art world and photojournalism an innovative project has sprung to life on the shores of Tate Britain. As newsworthy photographs from around the world roll in a computer brain mines its gallery archives looking for similarities. The resulting matches can be beautiful…
Back in the 1970s the photographic art world was experiencing a transformation of sorts. The rise of the celebrity photographer, especially in America set a precedent in the contemporary art market. Photographer’s work started selling for serious money. Mike Mandel, then a student of the San Francisco Art Institute noticed the change and put his mind to creating a body of work that would first satirise but later memorialise the celebrity photographer of the day.
In what would turn out to be an audacious undertaking, Mandel would spend the next Summer travelling the length and breadth of the United States on what he called a Continue reading →
There are hidden creatures in our skies. Long, mysterious oscillating bodies, suspended in the air with wings marching in formation in the way a millipede’s thousand legs moves in waves. But these air bound beings aren’t visible in the decisive moment, they’re hidden within the passage of time.
Xavi Bou (b. 1979) is a fashion and advertising photographer working from Barcelona who has developed an interest in the flight of birds. In the Continue reading →
While casually browsing Quora this weekend I happened across this unusually unremarkable collage of images along with the comment take a second glance at this. I did just that and to my surprise I started to realise I was looking at a single image. A composite of real life objects arranged in such a way to appear as four frames separated by an invisible line.
Look at it again, this is a single photograph!
Bela Borsodi, the Austrian born photographer is the mastermind behind the image. It was created back in 2011 for the experimental electronic jazz artist Susanne Kirchmayr under the name VLP and released as the album cover for their latest work, Terrain.
Hilla Becher, best known for her and her late husband’s monochrome typology photographs of industrial Germany and perhaps more importantly the ‘Becher School’ has passed away in Dusseldorf on Saturday at the age of 81.
Instantly recognisable and often presented in large grids Hilla and her husband’s iconic photographs of Gas plants, silos, water towers and other industrial buildings throughout Germany immortalised them forever in photographic history books. Their influence among documentary photographers and artists who value their 1972 collection of pure forms in architecture has transcended generations and will continue to do so.
Without Hilla & Bernd Becher it is unlikely we would have ever got to know many of their ‘Becher School’ disciples who have gone on to carve out incredibly successful international careers themselves, among them include Andreas Gursky and Thomas Ruff.
For those unfamiliar with the Becher’s work, here’s an excerpt from BERND & HILLA BECHER, a 2006 film by Michael Blackwood.
No stranger to controversy, we caught up with acclaimed photographer and friend of Phogotraphy, Mariel Clayton to discuss the importance of getting buyers of your work to enter into contractual agreements before putting in the leg work out of good faith. Mariel agreed to pen her thoughts for us so our readers would not make the same mistake.
NB. We have decided to include Mariel’s client names in this article despite the author not publishing them initially. ‘East Coast clients’ refers to Paper Magazine and ‘West coast clients’ refers to FX (American Horror Story.)
My name is Mariel Clayton, and I dismember, pose, and photograph dolls in dioramas… and people seem to enjoy that.
PBS Digital Studios have put together a short segment discussing how to approach the age old layman saying “I could do that.” It’s a phrase that photographers and artists alike often run in to when looking at what looks like unskilled art in the modern era.
The traditional answer of you didn’t, and they did didn’t quite cut it for one PBS viewer so Sarah Green got down to business. In this lovely little video, Sarah discusses several art pieces we may be familiar with and touches also on the implications the dawn of photography had.
So next time you unintentionally insult a photographer, artist or museum curator with your witty remark, take a closer look at the artwork and ask yourself what you’re looking for.
One look around Emily Scaife’s website is all it takes to see that this photographer is full of great ideas. Scaife uses photography, film making and illustration in her work and she has an extraordinary skill in turning the seemingly mundane into a visual delight, creating optical illusions by isolating her subject matter through either a macro lens, microscope or scanner and tricking us into thinking we’re looking at something entirely different. My favourite of these series are the ‘Cosmic Crispies‘. Scaife has given them the byline ‘Meteorological breakfast’ and they certainly make a wonderful feast for the eyes:
By photographing them in black and white against a pitch black background she makes them snap, crackle and pop in our brains as little asteroids (we’ve seen this type of imagery coming back from NASA – they’re not cheating and using Rice Crispies too are they?!). They are fascinating to look at and compare, who’d have thought each Crispie would be so different?
This will go down as one of the greatest and most important photographic discoveries of the century. It doesn’t look like much, but the face third from the left is none other than that of Vincent Van Gogh attending an outdoor dinner party on a cold December in 1887. It’s significance? It’s the only photographic image ever to have been taken of the artist.