Tuesday, January 25, 2011
Marfisa is a character in the Italian romantic epics Orlando innamorato by Matteo Maria Boiardo and Orlando furioso by Ludovico Ariosto. She is the sister of Ruggiero but was separated from him in early childhood. She becomes queen of India and fights as a warrior for the Saracens, taking part in the siege of the fortress Albracca until her sword is stolen by Brunello. She falls in love with Ruggiero, unaware who he is until Atlante reveals their background. Learning that her parents were Christian, she converts to the faith and joins the Emperor Charlemagne's army against the Saracens. (Wiki)
Marfisa is also "Bieco Blù's" design site.
The artist resides in Ferrara, Italy.
I had just talked about Hans Bellmer in the last post and found this by chance immediately afterwards!
The artist's Photostream is a panopy of Eros.
A metope of the polymorphously perverse.
And very beautiful.
Variation ombres et lumières # 27
iPhone V1, ShakeIt, Mill Colour, ShakeItPhoto
This work (from a series) by Bernard Gillet brings to mind works by Weston and O'Keefe foregrounding the human body as abstract art, the body as abstraction.
And yet the sensibility here is different.
There's more of a play with gestalt, which is more seductive.
Because here parts of the body seem to be wanting to "stand in" or substitute for other parts of the body, or possibly one gender for another.
In that sense, the voluptuous play moves the work closer to the sensibility of an artist like Bellmer.
Because there's more of a polymorphously perverse bent here, as in Bellmer.
With Weston and O'Keefe, the erotic felt less humanly engaged, if still present.
With Weston and O'Keefe, it was more as if we were watching the erotic undergo sublimation, possibly evaporation.
So these are two different alchemies of the image.
But I find both engaging.
The artist resides in Liège, Belgium.
Jill Auville greets the New Year with one of our (alas!) perennial visitants: Mr. Death.
Of course, you will want to click on this image and visit Ms. Auville's Photostream so you can see a larger version of this image, and her other fine works!
There seems to be quite a vogue for creating photographs which hanker after the Victorian photographers, and I'm perfectly fine with this, since I love such gorgeous anachronisms.
I love the funny irony that our most up-to-date twenty-first century technology is often being used to alter photographs so they appear to have been taken in the 19th century and taken their sweet time (aging poorly the whole while) getting to us.
Auville writes: Front cover image to my 2011 calendar for sale at deviantArt featuring 14 Polaroid images on PX and PZ film from the Impossible Project: Auville's Calendar.
Polaroid SX-70, Impossible PX100 Silver Shade.
So 2011 is opened by Death. I love it.
I found this photo at Andrew Conroy's very engaging site Finding Lost Time.
Monday, January 10, 2011
The photographer writes:
I'm a musician who likes art and design.
I shoot things that I stumble upon in my everyday life.
All the images are shot and edited with an iPhone 3GS.
Uddeskog was born in Malmo, Sweden, but currenly resides in Finland.
I loved his Photostream.
Lately, he's working his Iphone photographs of urban spaces (often the subway) so that the human subjects are highlighted and in focus--but their surroundings are chaotic, distorted, objects moving towards ephemerality and disappearance in their quick motion or their retreat into shadow.
Some of these photographs seem to be after the anomie of painters like George Tooker.
Like Tooker's works along those lines, they seem to stress the anomalous nature of human consciousness in a universe in which energy is generally much more volatile and dispersed.
And yet there is room for tenderness in some of these photos, as in the above, where a child transcends the ghostliness of matter. It seems to assert the reality of the soul (that archaic concept).
Phone photography (and especially Iphone photography) is coming on strong as a genre of interest to many photographers.
I feel a draw to artwork invested in ephemerality, in general, and this genre seems to pay particular heed to that.
Of course, a photograph like the above is also modern technology appropriating techniques from the Paper Age.
Because this is a 21st century collage. A revisioning of collage.
I love the way these effects can make reality look so toylike.
Photographers like Kertesz could achieve those effects through other means (pre-processing) but what should it matter how the effects are achieved if they get the viewer to the place he or she wants to arrive.
Because a photograph like this gets me there.
Taken and edited with an iPhone 4
Uploaded by Nicki Fitz-Gerald (FlickrFitzy) on 27 Dec 10, 6.37AM EST.
I love photographs that one can't at first believe are photographs.
This seems to have traveled far from its origin as a photograph.
It's hard to imagine an Apple iphone 4 being able to create such gorgeous artistic effects--this looks like encaustic!
But it can.
Visit the photographer's Photostream to see the myriad effects that can be achieved by combining the range of apps for photo manipulation available.
I saw some photos that made me think, "Somewhere the French Impressionists (and Whistler) are eating their hearts out over the Apple iphone!"
This photo is by Christopher Lazo.
Of process, Nicki writes:
Remix by me of original photo by Christopher Lazo for the Fotogriphone Editing Lab group.
Taken and edited with an iPhone 4. No imported elements.
Taken and edited with an iPhone 4
Uploaded by Nicki Fitz-Gerald (FlickrFitzy) on 10 Jan 11, 4.50AM EST.
I had no idea that phone has these kinds of editing apps.
Adding these kinds of emoluments to the technology is smart of Apple. Very smart.
Taken and edited with an iPhone 4
Uploaded by Nicki Fitz-Gerald (FlickrFitzy) on 10 Jan 11, 3.17AM EST.
Each new piece of technology with photographic capabilities (and they arrive nearly daily now) affords new artistic possibilites...and offers up new challenges to the human eye.
I notice many serious photographers are very interested in the devices most engaged in ephemeral communication (if it isn't ALL ephemeral communication in the end?).
I found this in the Blurism group, whose artists tend to appreciate that what is missing is always part of the picture itself.
"Rencontre de cerf volant."
The many incarnations of the Holga seduce many photographers.
They tend to love the red burn of ephemerality around the edges of reality.
The simulation of the human eye's limitations appeals to me, that vanishing peripherality and distortion caused by the human body (and hence eye) in motion is an interesting effect.
It flies in the face of the notion of photograph as yet another tableau or painting done in light and a different set of pigments from oils.
And yet all of these modes of representations invariably involve pictorial conventions, as a philosopher of the image like Merleau-Pony would remind us.
There is no absolute image.
Saturday, January 1, 2011
The photographer, Tom Hart, explains:
This is what happens (I think) when the cyanotype material is too thick and is allowed to pool. It crystallizes. This was an attempt on a very smooth, nonporous board. Nevertheless, it gave me a chuckle. Slight levels adjustment after the scan to "enhance" the image. :-)
Original image shot with Bronica SQ ai and Plus X. Negative printed out on transparency. Image is 7" x 7".
It was Balzac who first said "Chance is the greatest artist."
The quote is often misattributed to later writers/artists who repeated it.
I love the accident of the crystallization here, love the end result.
Spatial Collage (untitled, 2010).
How not to think of Joseph Cornell when admiring the beauty of this.
The ineffable hope implicit in human mapping.
Which is, in some measure, always doomed.
The map is not the reality (as Borges will remind us).
But it is rich in possibility and pathos, at once.
Map-territory philosophical problems seem to be some of the seminal problems of our age.
I want the white areas on the map to be snow.
But I don't think they are.
The artist's Flickr bio:
Visual Fine Artist,interested in "Site" using Spatial Practices which can incorporate Architecture, Fine Art and Performance.Earlier training in Ceramics and Stained Glass together with extensive experience in the Construction Industry are now being utilised in my Contemporary Practice.
Ceramics HSND Epsom, England.
Visual Fine Art BA Winchester,England.
Spatial Practices MA Canterbury, England.
"All religions, nearly all philosophies,and even a part of science testify to the unwearying heroic effort of mankind desperately denying its contingency."
The Human/Straw Dogs, John Gray.
I was pleased to see Monod quoted here.
I remember some wonderful translations of Monod poems in Lee Chapman's poetry mag First Intensity a few years back.
The photographer writes:
taken in a bathroom around 9 pm.
had i gotten my picture taken when i got my teeth taken out all you would have seen is tears.
i am a baby
The photographer's nom de Flickr is Solipsism Prism.
Joined: July 2009
Currently: Buenos Aires, Argentina
I am: Male
And here is a New Year's photo posted by this artist.
Title is "A Whole New Year."
scary things are going
to happen what will i do
i havent a clue