Monday, February 28, 2011
Saturday, February 26, 2011
I have to say she succeeds in her approach of telling a story, with a single image. She puts enough information in her photos that a viewer can discern the message she is trying to get across. Also she makes sure to put enough information in the photo to be able to figure out the historical work she is referencing, if she is referencing a historical work.
Looking at her work from purely execution of good work, she shines at that too. Her use of colors is so eye catching you can’t help but want to stare at any of her photos just to be amazed at the colors and how they play off each other. She mentions in her statement that she tends to use color with symbolic meaning, in her performance Chase lounge, the dramatic red wall on either side of her, does a great job of allowing the viewer to feel and see the dramatic passion, that is symbolized in a crimson red. In her piece Weeping Box, the grey rock wall behind her and the grey ground bring out that sad feeling associated with the color. Even just looking at the onions your mind already associates the idea of your eyes watering as though you are weeping; it’s a nice play with irony.
Her work for me is best summed up in her own words: “I believe in grand romantic gestures, epic failure, endless absurdity, aesthetic gasps and always hopeless optimism”
Her next show will be at Kendall College of Art and Design
To see her work go to her webstie www.erinvsotak.com
Friday, February 25, 2011
Joy Christiansen Erb is a photographer in Youngstown, Ohio, she teaches at the Youngstown State University. She actively exhibits her work which also includes installations; her photographic work includes traditional processes, alternative processes and digital media. Some of her current exhibitions she has art in are Spinning Yarns: Photographic Story Tellers, Home…Is Where the Camera Is, and Louisiana Purchase: National Juried Exhibition.
What drew me to Christiansen Erb’s work were the images picked out in Libby’s catalog she passed around the other day. They were part of her Portrait of a Mother, series putting the two pictures of her c-section scar and her son’s heart surgery scar together, kind of rocked me in a weird cliché way. It sent a powerful message about life and some of the struggles mothers have to go through to keep their children and families going. After reading her statement in the catalog I was intrigued to see the rest of the series, to see if she actually was able to capture the change in her body and show the through the eyes of a mother what it feels like to watch your child be sick and not be able to fix it.
I would have to say she succeeded in her goals, going through the rest of the series you feel as though you are her with sleepless nights, seeing machines and tubes keep your child alive. I have yet to have one of my own, but those photos are powerful. I Where I think she failed a little was in her statement she said she was trying to step away from herself and be objective in her photos, I don’t know that I would say she was able to completely remove herself behind the camera.
In the end I’d have to say her work is compelling to experience, and it’s not just this series. Some of her other series on her website are really interesting and neat ideas that deal with family and its many aspects. You are also able to see how she incorporates image and installation.
Monday, February 21, 2011
Sunday, February 20, 2011
Tokihiro Sato was born in Japan in 1957, and attended the Tokyo National University of Fine Arts and Music with a specialization in Sculpture. As a student Sato learned how to use large format cameras to document his work, but it was in 1987 that he began to incorporate photography into his sculpture. His first experiments with this merger of the two media consisted of long exposures, in which Sato used flashlights to draw lines of light around his sculptures.
His experimentations excited him and he began to work increasingly in photography and shortly thereafter he pushed his 'light drawings' past sculpture into other media, nature in particular. Sato's technique is simple enough to explain, much harder to accomplish; he uses a large format camera and makes exposures that last anywhere from one to three hours. After he sets up the shot, he navigates the landscape and uses either flashlights or mirrors (to reflect sunlight) directed at the camera to trace lines in the space. Patience and discipline is definitely involved.
Monday, February 14, 2011
Barbara Probst is a photographer and contemporary artist,She was born in Munich, Germany and lives and works in New York and Munich.
she images use multiple points of view by employing as many as twelve cameras and tripods, arranged around the subject, to photograph multiple points of view captured in separate images but taken simultaneously with a single radio-controlled shutter release.
When I go to Houston I had chance to see her work, I really wanted to use her techniques for my final work, but it was really hard. But I am sure I will try some day.
Sunday, February 13, 2011
In 1999 Barth presented a series of work entitled Nowhere Near: the photographs in this series were all shot at her house in LA through her living room window. They documented what she could see from this particular window over and expanse of 12 months. These photographs for me, were slightly boring at at first glance (This might have been different had I seen them the way they should have been exhibited and not pages in a book). However, I was intrigued and how empty they seemed...which made me study them more.
After reading up on both her processes and philosophies, I've come to enjoy the conceptual ideas that she portrays in her images. In my opinion, this series of work pushes an idea that we (as humans) have no control over nature, we just watch. The camera in this case is just an extension of our eye, and the lack of focus creates this feeling of longing (as if something is eluding or grasp) But what is it we are looking for? Is there something past this suburban neighborhood that is Nowhere Near us (Forever at an unreachable distance).
Friday, February 11, 2011
Wednesday, February 9, 2011
Alan Jaras, a retired research scientist and microscopist, creates these stunning (in my opinion) images using a single light beam that passes through varieties of textured and transparent forms. The pattern is captured directly on to 35mm film by removing the camera lens and putting the transparent object(s) in its place.
It's great that the abstractions created in this process create "images of strange microscopic or deep sea creatures or even galaxies forming in deep space," because it evokes the viewers imagination. However, the reason I'm truly impressed/stunned/ and in awe of his work is the experimentation and science associated with the process. One can definitely see the way Jaras plays with the light, bending it and twisting it to his whim. In the two pictures above, you can see a evolution of his technique and a mastery of light. The bottom is an earlier work called Crumpled Rainbow: Twisting Light #25 which seems like another experimentation with his process. The top images title alone, Metropolis I: Taming Light #45, shows his mastery of his process(the "taming" of light).