Yigal Ozeri: Brushstrokes of a Photograph

Untitled; Jessica in the park, 2009, Oil on paper, 42 x 60 inches

Untitled; Jessica in the park, 2009, Oil on paper, 42 x 60 inches

I had the luxury of seeing a full installation of Ozeri's work at the Pulse Art Fair in NYC this last March, and what I'd quickly dismissed as photograph, took me another walk-through to realize these "photographic images' were actually meticulous paintings...

Untitled; Megan in the park , 2009, Oil on paper, 60 x 42 inches

Simen Johan: Re-Imaging the Unseen

Now at Yossi Milo Gallery in New York:
Until the Kindom Comes;  a collection of the unseen; photographs and sculpture of secrets... proof of life beyond our own...
"solitary paths towards imagined fulfillment"  
Now through October 31, 2009

Where do children go in the night, in their dreams, in their own homes? What do they do, for the short time in which they remain untarnished by the awareness of ugliness and suffering; a time where the wondrous is limitless, and nightmares are adventures to be conquered... 

(From, Evidence of Things Unseen) 

And what of the animals, feasting in darkness and light, roaring upwards in delight- What of their  prey? Who sees battle and decay in the kingdom of the wild ones... 

Under heavy fog, the difference in visibility depends on the extent of what you are willing to witness.

Gregory Euclide: Not Your Traditional Landscape

Held on history's material desire
acrylic, cigarettes, foam, milkweed, paper, pencil, plastic, styrofoam
18 x 21 x 10

Closer Look 

Something similar to waves inside but lower than breaking

acrylic, paper, pencil

24 x 36

closer look 

Turned toward the making of moment's width

acrylic, pencil, pen, leaves, mylar, photo transfer, pine cone on paper
23 x 29

Closer Look 

With what arrived as folds and later left meaning

acrylic, bubble wrap, foam, paper, pencil, wood

24 x 30 x 9

Closer Look 

Fever Ray: Forever Masked

Always shrouded in Mystery, singer Karin Dreijer Andersson is as compelling a preformer as her voice is  haunting. Now Touring, captivated fans are drawn to experience the dark ethereal world of Fever Ray. This concert can't possibly be anything short of poetic.




Seven from Fever Ray on Vimeo.

I wear the costume he loves, forever primal. Condemned to the catacombs of truth, all my wretchedness exposed, he blinds me with acceptance, with grace. Naked forever, caressed by the brightness of being free... But the darkest corners of your stare deepen the fathoms of doubt. You’ll not survive the storm; you are not the destination. 

Painlessly you are forgotten in a slew of assault and pleasure.  

If I Had A Heart from Fever Ray on Vimeo.









Tour Dates 
*** Updated Pictures from the Show***

Triangle Walks from Fever Ray on Vimeo.
"Like The Knife, Fever Ray relies heavily on computerized sounds, but the goal isn’t to make you dance. It is, as far as I can tell, to spook the hell out of you in the sexiest way possible. Or maybe it’s to turn you on in the scariest way possible. Like any electronic artist worth her synthesizers, Andersson creates sound loops and builds on them until they, ahem, explode in little musical epiphanies." 

Victoria Reynolds: Piece of Meat

Victoria Reynolds  Fat Mouth, 2008
16 x 16 Inches  , Oil on panel

Victoria Reynolds  Reindeer Vision (Gievvot), 2008
44 x 32 Inches  , Oil on panel 

Victoria Reynolds Paints Meat. Raw Sensuous Bloody Muscular Meat. Enjoy.

Victoria Reynolds  Kiss the Fat, 2005
17 x 14.25 Inches  , Oil on panel  

Victoria Reynolds  Flight of the Reindeer, 2003
32 x 43.75 Inches  , Oil on panel

Guesch Patti

Theme from "The Pillow Book"

Picasso: The Vandal

Photo: Gjon Mili/Time & Life Pictures/Getty Images   Jan 01, 1949

Light Graffiti, the latest trend in street art, can sometimes take up to an hour to create, but the result is something of a different plane, art existing in no tangible state except for what the camera's lens gathers in these prolonged states of exposure.  It is no surprise then that Picasso may be the genius behind the idea.....

"In the new year of 1949, TIME photographer Gjon Mill  showed the artist some of his photographs of ice skaters with tiny lights affixed to their skates jumping in the dark—and Picasso's mind began to race. The series  of photographs that follow—Picasso’s light drawings—were made with a small flashlight in a dark room; the images vanished almost as soon as they were created."

Photo: Gjon Mili/Time & Life Pictures/Getty Images   Jan 01, 1949

Photo: Gjon Mili/Time & Life Pictures/Getty Images   Jan 01, 1949______________________________________

Modern Work:

Poseidon by Eric Staller 

LAPP-PRO specialises in single-shot, long-exposure images manipulated with movement of light. They used a 21.1 megapixel Canon EOS 5D Mark II camera to capture these high-resolution images.

*Each of these spectacular pictures is one single photo that has not undergone any computer enhancement*

Though the best results you get through experimentation, Lichtfakor, a light crew based out of Cologne, Germany, explain the basics of every shot. 

:::::::::::::::::::::::::::::::::::::::::;

HOW TO DO IT    via Lichtfaktor

These are the basics:
To get the best results you need a tripod. The exposure should be around 10-30 sec. or longer if needed. Stay in front of the camera and do your writing. Try not to overexpose but set the camera to about iso100, and close your aperture as much as possible. If there is still too much light, you might have to use a nd-filter.

We use flashlights, biking-lights and flashing LED lights as they all work with batteries. You also get nice results with fireworks & torches .

3 different type of lights we use:

Xenon: makes a warm golden light.
LED: makes a thin precise line.
Cold Cathode: thick line/fat cap.

Jan Saudek

Jan Saudek: trapped by his passions, no hope for rescue
Directed by Adolf Zika

"The full-length documentary film Jan Saudek provides a personally truthful yet harsh life story of a hero and dropout. It is presented as a grand drama, not just full of stirring, colorful photographs, but also provocative ideas, illusions and ideals. Jan Saudek became a world-renowned photographer, winning international awards and being exhibited abroad, long before he had gained recognition in his native country."

Fernando Vicente: It's what's Inside that counts.

Escorzo

Terminator

Lunática

dR American Suburb

There is a vile pulse in your veins; a longing for something never near you. Guilty even in your own dreams when the vortex of your desires swallow you up each night... wandering silently through broken doorways and in between the walls of abandoned rooms, you are haunted by the all consuming labyrinth within you. Gut-wrenched by the path you have taken, no longer able to blame it on innocence or lack of forethought. These are not lies to be shared with anyone, these are the places where unquenched love is kept. 
These are the chasms Doug Rickard presents... so breathe it in, all you can get, love without thinking, deny all regrets.

From the 'Victor Cobo "Remember When You Loved Me"  ' Highlight.
by Doug Rickard
"There is a place of inner dreams... of a love-quenched-vicious-thirst-longing that can inhabit the body, inhabit the mind and suck one inward with the relentless force of black hole gravity. The pull - it's ferocious as the fantasies grow. The isolation from society becomes a force, the separation from “the normal” is a rolling-boulder momentum. You’re here, they’re over there… you and your self - they and "the rest". Your deepening slide, the accelerating fall inward becomes your exile… an exile by yourself, within the self... to the self. The vivid dreams become all consuming... the chains latch shut while your prison grows - shaped as self imposed walls. A maze of self-built brick barriers, a mental cage of unadulterated urge. Desire, hidden beauty, secrets and open space exist but you’re all alone… the space is only the internal. Your falling-inward thoughts become your god. " 


check out more words from dR on excellent photographers at American Suburb X 

Jessica Joslin: Brass & Bone

detail of   'Carina'  12"x5"x13", 2006

Antique hardware, brass, bone, glove leather, glass eyes

 detail of  'Happy'  8”x6”x21”, 2005
Antique hardware, brass, bone, beads, umbrella tips,
vestment trim, velvet, leather, glass eyes

detail of  'Aster'   27”x19.5”x10”, 2008
Antique brass findings and hardware, bone, leather,antique vestment trim,
velvet, brass bullet casings, chain, silver, snakeskin, glass eyes

Yeah Yeah Yeahs Short Film: Snakesweat

Directed by Karen O co-conspirator Barney Clay.

Tom Hoops: Mirror in the Lens

Mirrors reflect wonderfully dreadful ideas of ourselves; we see with inaccuracy more or less.... What expels these images we project not only upon ourselves, but on others? In the tangle and snarl of insecurity and overconfidence or even sublime aloof acceptance exists that snapshot of ourselves in memory. So how does one expose in exactness someone's particular qualities of being in the moment? These photographs provide a story no longer confined to the eyes, but one shouted from every line and sunken shadow in each expression. 

Catherine Larré: Wide Eyed and Dreaming

Catherine Larré - "The Man, the Magic and the Child..."
by Doug Rickard via American Suburb X

"And the child saw the world for what it was.

She saw the magic and magical things… the shadows and sparkles and whispering beings… the butterflies and flowers, thorny branches and towering-towers, the spider webs, singing birds and dark-moonlit powers…

And the man saw the world for what it was.

He saw that it was full of logic and intelligent beings and rational sense and science and flesh and blood things… of war and fighting, of cancer and of dying… of buildings and automobiles, of sorrow and of crying.

The child's clear eye's saw everything that the man could no longer see so the child said to the man… “Come Man and let me show you my dreams and the magical moonbeams and the soaring skies and the Man said, little child, I can no longer see the moon or the skies but only clouds with cloudy eye's and of what are dreams?”

And the child could see God everywhere… and the man could only see himself.

And the man saw all of the other things that the child did not see so the man said to the child… “Come child for it is time... I must show you death and disease and "the ugly" and the child said, Man of what is death and of what is "ugly" for I do not understand and I cannot see?” The man could see what was coming… and the child could only see what was already there.

Catherine Larré tells of the shimmering dreams and the singing birds, the whispers of moonlight and the oh-so-beautiful words… the darkness and the light, the mysteries in the night… the magic of the wild… the fragility of the child... the adult and his sadness, the ugliness and the madness."