Sunday, October 31, 2010

joel sternfeld

from his series American Prospects

guido mocafico

This is the photographer Dan brought up in class, about the snakes in a square

felix gonzalez-torres

Saturday, October 30, 2010

Anette Lenz

Graphic Desinger who made a lot of theatre posters
she studied graphic design in munich, germany and mainly uses german typography and
liberating french style in her work. i like how she uses photography in her poster.
a lot of collages and juxtaposing them with texts

more photos of her posters : here

Matt Siber

His primary concern was urban density and
to me, he seems like his focuses on
how commercialism were overly drenched and ubiquitous in public.

Matt Siber

Werner Jeker

Werner Jeker

Terre des Hommes, affiche, DR.

René Burri, affiche d’exposition, Zürich, 1984, DR. Kunsthaus Zürich.

“He is my favorite and strongest counter example whenever I run into some narrow minded “expert” that tries to convince me that a particular poster is no good because the designer “just used a photograph” instead of drawing a picture himself.”

quote from: here

Werner Jeker is a graphic designer who uses enormous amount of photography in his posters and many other works. His works are very unique because he does a great job in connecting the relationship between typography and photography and by doing so, the text and the image create interesting concepts. They are images of extreme sometimes but quite simple at the same time.

info from

Friday, October 29, 2010

Messing with the Real: Trish Morissey

Going even further than WassinkLundgren, the Irish artist Trish Morissey in her series Front places herself in what are otherwise 'natural' situations.

When I first saw this work, I didn't quite twig to what was going on. When I figured it out, I just about wet my pants.

Trish Morissey, 'Sylvia Westbrook, August 2nd, 2005', from Front

Trish Morissey, 'Heather Hancock, August 28th, 2006', from Front

Trish Morissey, 'Rachael Hobson, September 2nd, 2007', from Front

Trish Morissey, 'Hayley Coles, June 17th, 2006', from Front

Trish Morissey, 'Donna Plant, August 21st, 2005 ', from Front

Yes, that is the artist herself, in each photograph, playing the role of a real woman who was sitting in that same spot before she arrived with her camera. She takes on each female role as completely as possible, including wearing her clothes and posing with her family as she actually would.

How cheeky! This would have been quite a fun project to make.

Morissey doesn't have much of a web presence, but her website has a few links where you should be able to find some more examples of her work.

Messing with the Real: WassinkLundgren

Another way of intervening in photographs of the real is to invoke performance in an otherwise 'natural' setting - in other words, to create an event for the camera which is, in its own way, real.

These photographs come from an ingenious body of work by a Dutch photographer who goes by the name of WassinkLundgren, called Empty Bottles. Working in China, the artist placed empty plastic bottles on the street, set up his large format camera and waited for the bottles to be picked up by passing scavengers:

WassinkLundgren, from Empty Bottles

WassinkLundgren, from Empty Bottles

WassinkLundgren, from Empty Bottles

The photographs speak not only to economic and social concerns, but also to wider photographic practice. Are these straight photographs? Were they made ethically? Does that matter?

WassinkLundgren has a mad website, which you absolutely must check out here.

Messing with the Real: Matt Siber

As someone who has always made 'straight' photographs of real things outside the studio, I have been interested for some time in the boundaries we construct around photography of the real, and how they might be pushed in various ways.

Lately I have been looking at the work of artists who use the language of straight photography, yet are somehow intervening in the process of making their images. Here is a particularly contemporary example, of an American artist using a pre-existing visual language in photographing the 'man-altered landscape', yet digitally removing elements to draw our attention to his concerns:

Matt Siber, from Floating Logos

Matt Siber, from Floating Logos

Matt Siber, from Floating Logos

Matt Siber, from Floating Logos

I really enjoy looking at these photographs - it's as if we have seen them before, but have been given new filters through which to view them again. Also, they're funny, which is an underrated quality in photographs.

Matt Siber's work looks at the modes of visual communication in public space. He has a number of interesting projects, which you can have a look at on his website.

Wednesday, October 27, 2010

Elger Esser

for Andy...
Sully I, 2001
C-Print & DiaSec Face

Ports Scaff, 2004
C-Print & DiaSec Face

Beauduc II, France, 2009
C-Print & DiaSec Face

Priit Pärn

this is an excerpt from Triangle by Priit Pärn,
an animator from Estonia who is incredible. In this film he uses appropriated imagery/photo montage. (part 1/2)

"Pärn's style is characterized by black humour, playful surrealism and a unique graphic style. His somewhat crude style marked the departure from both Rein Raamat's overtly serious and moralizing films as well as the Disneyesque style propagated by the directors of Soyuzmultfilm."

you already know whats good