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Showing posts from 2017

i3 lecture with Anastasia Samoylova

from 2016, new build site

from 2017, mirror on wasteland

view from my window

Thomas Cole & Joel Sternfeld: Oxbow Archive, (1833) (2007)

Joe Sternfeld: Oxbow Archive, (2007)

Steidl

Sternfeld spent a year and a a half photographing a corn and potato field, commuting to it on an almost daily basis.



Joe Deal: Albuquerque, (1975)

Richard Ansett: Girl pretending to be dead, from series ‘Bathers, UKR'

Richard Ansett: John standing in the garden, Secure Psychiatric Unit, Bethlem Hospital, UK, (2017)

Lewis Baltz: Gilroy, 1967

Excavator from above (uncredited)

www.mining.com - metals prices in 2018


It's a totally Lee Friedlander photograph

car  reflections  wife  self portrait  landscape

Erasure: Take A Chance On Me

Vince looks great in this : )

X Men Days of Future Past; autopsy photographs

The simulated autopsy photographs of the mutants incorporate terrific detailing; the labelling (block font and courier), and the additional hand written notation in chinagraph pencil. Used in the film even the clips used to hold the images in their folder are spot on.




Thomas Hirschhorn: DE-PIXELIZATION

collectordaily review

gladstone gallery

I like the urgency about these nailed on the wall billboard prints, the pixellation motif and the general lairyness.



Remoteness

A pair of scientists from Florida, and their eight-year-old daughter, are visiting the remotest spot in every US state - BBC article

Apart from in Alaska they have so far found there are no truly remote spots, they arrive to find people, cabins, trails already there.




Melanie Willhide, The Disquieting Muses Again @ Elizabeth Houston

Glitchy scanner images of visual ephemera on the walls of a closed down factory.

collectordaily review.




25th November

It's the 25th of November : )


'Youth'

I was gone, but not my love
You were clearly meant for more
Than a life lost in the war

I want you to be happy
Free to run, get dizzy on caffeine
Funny friends that make you laugh
And maybe you're just a little bit dappy
Fly


Drone warfare is forever

Star Trek, A Taste of Armageddon (1967); an episode that depicts an immense 500 year long war between two highly civilised planets that has been systematically perfected. War is no longer recognisable as such. It has become unobtrusive, there is no sudden attack or desperate defence, no physical exposure to danger, fear or harm In fact there is no longer any discernible military engagement of any kind - except that millions still die each year. Instead each side's computers efficiently calculate the potential number of casualties of the ongoing conflict and the requisite quota of citizens dutifully report within 24 hours to be painlessly disintegrated at facilities constructed specifically for the purpose on each world. Barbaric violence has been replaced by a superior technical methodology. Kirk observes when war has become this easy and remote from terror it can be maintained forever.


RAF Waddington, Lincolnshire, 13 Squadron MQ-9 Reaper drones operations centre. (Perimeter fence…

An English landscape in the autumn; the chemistry.

I cycled out to the drone airbase this morning, wanting to make the most of the sunshine. The frost from last night was just melting away off the fields. As expected most of the leaves on the hedgerows that surround the perimeter security fence have dropped but still there were some around, with pigments of yellow, reds and gold, those colours of fire and burning.

The leaf colours of autumn are carotenoids, consisting of molecules of isopentenyl diphosphate and dimethylallyl diphosphate. A phosphate is a salt containing phosphorus, a key element of weapons' explosives. Strangely then these hot colours are not only a visual simile but have an associated chemistry.



hedgerow, leaf shapes,colours, nov 17

hedgerow, nov 17

Oil and Gas

Uncredited stock photo from an article on the oil and gas industry firm Petrofac.




Lydia Flem

collectordaily: Galerie Françoise Paviot (here): This provocative triptych by Lydia Flem introduces scissors into famous paintings by Vermeer, Michelangelo, and Ingres. The implied mutilation effect is boldly violent and anti-female, the sharp edges cutting off ears and gouging out eyes.
Priced at €4400




Sonja Braas

Collectordaily: Galerie Tanit (here): This large scale color work by Sonja Braas is actually a meticulous in-studio construction. The endless piles of shipping containers were constructed on her floor, the overwhelming mass of commerce filling the frame. Priced at €15000.

Noémie Goudal

collectordaily: Galerie Les Filles du Calvaire (here): This large work by Noémie Goudal interrupts a flat desert landscape with a jumbled tower of wooden cubes. The effect is something like reinventing a mountain form, introducing hard-edged geometries into a natural setting. Priced at €19000.





Marguerite Yourcenar

Marguerite Yourcenar: Memoir of Hadrian, (1951)

New York Times bio of Marguerite Yourcenar.

'Memoirs of Hadrian', last paragraph:

"Little soul, gentle and drifting, guest and companion of my body, now you will dwell below in pallid places, stark and bare; there you will abandon your play of yore. But one moment still, let us gaze together on these familiar shores, on these objects which doubtless we shall not see again.... Let us try, if we can, to enter into death with open eyes."





pictures that may look like they are about something

I took a day off work and made it out to the airbase late morning with a terrific bright sky and a low sun sending streaking shadows across the ground. Over the last few Novembers I've tried to time it so as to be there when the leaves of the hedgerows that grow alongside the perimeter fence turn yellow, gold and red (the colours of burning). But it's a narrow window and mostly I don't quite time it right. In previous years bad weather has stripped the branches and the farmer who owns the adjoining land usually cuts back the hedges about now.

I got the exposure wrong on one frame today and soon afterwards cranked up the EV to burn out the rest of the frames to convey incandescence and by suggestion both the rending by explosive energy, and also of emotion. The over-exposure effect has been used by other photographers, such as Paul Graham, intimating the failure to see social injustice as a kind of cataract-impaired vision. As it turned out the bleached out pictures I took …

hedge, nov 17

Banksy: Balfour Declaration centenary 'apology' party for Palestinians

BBC



Meanwhile, and still in complete denial, "Theresa May has said that Britain is “proud of our pioneering role in the creation of the state of Israel” at a gala dinner in London to commemorate the 100th anniversary of the Balfour declaration."

Emmet Gowin: Insect Movement, French Guiana, (2011)

Pace/MacGill Gallery


Emmet Gowin: Edith in Panama with Three Leaves, (2015)

Julie Blackmon: Weeds, 2017

Erica Deeman: Untitled Nº03, from the series Silhouettes, 2014

collectordaily review

Loring at collectordaily, as always, make a case for work that could be lazily dismissed out of hand (as I'm wont to do when flicking through the gallery shots at the top of each review). But I have to admit there is a quality to these images that makes them very different from a random silhouette. That became obvious today when coming across a very similar image, (uncredited, presumably stock) used in a BBC online article and although sharing most key elements it's completely lacking the powerfulness of Deeman's photographs.









John Divola: Isolated Houses, N34°11.670' W115°55.347', 1995

interior/exterior, spring 2016, black dress

interior/exterior, spring 2016, blue

by the photo on the wall

by the north sea

Robert Plant & The Sensational Space Shifters: New World

Trevor Paglan: Highway of Death (Corpus: The Aftermath of the First Smart War) Adversarially Evolved Hallucination, 2017

collectordaily review & metro pictures


new build home through trees, (from april 17)

Prepping a digicam pan file to print about 2m wide.


Richard Estes: "Times Square at 3.53,Winter, 1985"

10 x 15 cm signed Richard Estes art card on eBay

There can't be many paintings that refer to time in such a specific way as '3.53'.


Barbara Kasten: PARTI PRIS @Bortolami

collectordaily review