tag:blogger.com,1999:blog-1885333902209350982023-11-15T23:47:12.579-08:00THE BOSTON ART NEWSsuedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-188533390220935098.post-69385374212455133402010-12-29T10:04:00.000-08:002010-12-29T10:04:08.180-08:00GREGORY HERPE<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtGeZ69vHo_NjUqpTyPFRYBzjA1YHUKYsHioSpAkdkX7pnGqlLd1SEgta6DKSHDjLQjPL-bCMwX0i37us-0McBvIy9D5mRUAV2OAOXteJCAgJJ7jh8hVvVBz2Nzwdl-WXNBkl9yLkVPg/s1600/gregory_herpe_autoportrait.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOtGeZ69vHo_NjUqpTyPFRYBzjA1YHUKYsHioSpAkdkX7pnGqlLd1SEgta6DKSHDjLQjPL-bCMwX0i37us-0McBvIy9D5mRUAV2OAOXteJCAgJJ7jh8hVvVBz2Nzwdl-WXNBkl9yLkVPg/s320/gregory_herpe_autoportrait.jpg" width="320" /></a></div><br />
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<span class="" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions">In</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">the photographs</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Gregory</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Herpe</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">we</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">recognize</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">his</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">inspiration</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions"> </span></span><br />
<span class="" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions">C</span><span class="hps" title="Cliquer ici pour voir d'autres traductions">ulture</span><span class="" title="Cliquer ici pour voir d'autres traductions">, history</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">black humor</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">the</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">desecration</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">God</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Hollywood</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">sex</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">politics</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">literature</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">aristocracy</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">As</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">he</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">had several lives</span><span class="" title="Cliquer ici pour voir d'autres traductions">, her</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">world</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">rich</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">dense</span><span class="" title="Cliquer ici pour voir d'autres traductions">, full</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">doubts,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">screaming</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">pain</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">laughter</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">too</span><span class="" title="Cliquer ici pour voir d'autres traductions">!</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/serge_gainsbourg_mona_lisa_was_a_gipsy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/serge_gainsbourg_mona_lisa_was_a_gipsy.JPG" width="214" /></a></div><br />
<span class="" id="result_box" lang="en"><span class="" title="Cliquer ici pour voir d'autres traductions"> </span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">His images</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">inspired</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">pop</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">art</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">look at</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">the</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">first</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">second</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">degree</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">sometimes</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to the</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">twelfth</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">fourteenth</span><span class="" title="Cliquer ici pour voir d'autres traductions">, for there</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">always</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">a</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">hidden</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">code</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">discover</span><span class="" title="Cliquer ici pour voir d'autres traductions">, or not ...</span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">He</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">lampooned</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Hitler</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Stalin</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Mao</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Andy</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Warhol</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">transformed</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">into</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">shemale</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Serge</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Gainsbourg</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Mona</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Lisa</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Marilyn</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Monroe</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">became</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">the</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Little Red Riding Hood</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/mona_lisa_leonardo_da_vinci_time_after_time.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/mona_lisa_leonardo_da_vinci_time_after_time.jpg" width="320" /></a></div><br />
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<span class="hps" title="Cliquer ici pour voir d'autres traductions">Mozart</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Freud</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Jim</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Morrison</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Agatha</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Christie</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Oscar</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Wilde</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Egon</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Schiele</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Iggy</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Pop</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Albert</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Einstein</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Rimbaud</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Elvis</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Presley</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Camille</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Claudel</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Che</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Guevara</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">George</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Bush</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Kennedy</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Gandhi</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Paris</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Hilton</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Zinedine</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Zidane</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">they</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">all pass</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">between</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">hands</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">scalpels</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">that surgeon</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">very special</span><span class="" title="Cliquer ici pour voir d'autres traductions">.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/paris_hilton_my_only_utility1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/paris_hilton_my_only_utility1.jpg" width="240" /></a></div><br />
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<span class="hps" title="Cliquer ici pour voir d'autres traductions">But</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">it</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">also</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">speaks</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of the</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">ills of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">our</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">society,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">like</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">consumerism</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">racism</span><span class="" title="Cliquer ici pour voir d'autres traductions">, problems</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">identity</span><span class="" title="Cliquer ici pour voir d'autres traductions">.</span></span><br />
<span class="" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions">But</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">it</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">also an</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">outstanding</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">collector</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of emotions</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">with series</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">concert photos</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Iggy</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Pop</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Deep</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Purple</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Roberto</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Alagna</span> to <span class="hps" title="Cliquer ici pour voir d'autres traductions">Micky</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Green</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">or</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">as a</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">set</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">photographer</span><span class="" title="Cliquer ici pour voir d'autres traductions">.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/george_w_bush_guilty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/george_w_bush_guilty.jpg" width="320" /></a></div><br />
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<span class="hps" title="Cliquer ici pour voir d'autres traductions">He</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">also</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">enjoys</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">photographing</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Mr</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Mrs</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">everyone</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">with</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">the talent</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">always</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">make them</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">beautiful</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">natural</span><span class="" title="Cliquer ici pour voir d'autres traductions">.</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/ernesto_che_guevara_a_cuba_libre_and_the_bild.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="http://gregoryherpephoto.free.fr/galleries/photos_pop_art/ernesto_che_guevara_a_cuba_libre_and_the_bild.JPG" width="320" /></a></div><span class="" id="result_box" lang="en"><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions"></span><span class="hps" title="Cliquer ici pour voir d'autres traductions">Gregory</span> Herpe <span class="hps" title="Cliquer ici pour voir d'autres traductions">was born</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">in</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Paris</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">1969, was</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">an actor</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions"></span></span><span class="short_text" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions"></span><span class="hps" title="Cliquer ici pour voir d'autres traductions">has</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">staged</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">plays</span><span class="" title="Cliquer ici pour voir d'autres traductions"></span></span><span class="" id="result_box" lang="en"> <span class="hps" title="Cliquer ici pour voir d'autres traductions">in</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">France</span><span class="" title="Cliquer ici pour voir d'autres traductions">, Spain,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">edited</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">writer</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">in Canada</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">a journalist</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">for radio</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">television in France</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Belgium</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">directed</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">an art gallery</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">in</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Antwerp</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">lived</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">in Africa</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">was</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">artistic director of a</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">cinema</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">production studio</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span></span><br />
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<span class="" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions">A</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">poet</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">modern times</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">whose</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">inspiration</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">imagination</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">seem</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to have a promising</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">future</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">...</span></span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rk7uLD_z-dxJUyOynVSn-NIvM_HKbD4ls69yUNdiOKqh6a9_QUsrFrSgqQvWOWdYphgD6egJQRe-hnRDDPoEcQmxeNh72pE85B3svBxgGxobSfMbZEDZLEdcl7gNEZ-OU8V9T05BBx0/s1600/DSC_0691.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7rk7uLD_z-dxJUyOynVSn-NIvM_HKbD4ls69yUNdiOKqh6a9_QUsrFrSgqQvWOWdYphgD6egJQRe-hnRDDPoEcQmxeNh72pE85B3svBxgGxobSfMbZEDZLEdcl7gNEZ-OU8V9T05BBx0/s320/DSC_0691.jpg" width="214" /></a></div><span class="" id="result_box" lang="en"><span class="" title="Cliquer ici pour voir d'autres traductions"> </span></span>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-19648281240982376712010-12-29T04:54:00.000-08:002010-12-29T04:54:01.908-08:00CHIP WILLIS<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_sfyHZh41lJM/TQk5SAhCdJI/AAAAAAAACj8/Ke7KkmOC-LM/s1600/jazz-hands.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://4.bp.blogspot.com/_sfyHZh41lJM/TQk5SAhCdJI/AAAAAAAACj8/Ke7KkmOC-LM/s320/jazz-hands.jpg" width="320" /></a></div><br />
<i><b>Chip Willis is a photographer working in Columbus Ohio, and travels to <span class="caps">NYC</span> and LA as often as possible. Available for assignment in the areas of Portrait, Fashion and Commercial photography. </b></i><br />
<i><b><em>I saw his work in an exhibition at Jungle Science Gallery in March. It was too good not to ask if he would mind sharing. Chip doesn’t say much about his work, or the way he approaches it, allowing the images and techniques to speak for themselves. </em></b></i><br />
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Chip Willis’ provocative photography can make viewers feel embarrassed, outraged or even aroused. But, as Willis will tell you, as long as his work makes you feel something, he’s happy. “I enjoy pushing boundaries,” Willis says. “I don’t care what your opinion is as long as you have one. It might not be the prettiest thing they’ve seen, but I want people to stop and look.”<br />
Willis spends a large amount of time photographing actors and actresses in Hollywood and Florida, and holds gallery shows while doing magazine work in New York. He recently shot the cover for the launch issue of Karin + Raoul, a New York fashion art magazine that goes to press this spring.<br />
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Willis says that portions of his work play better in bigger metros. “Columbus is safe,” he says, describing the aesthetic tastes of our city. He said that his sensibility has been influenced by work in Europe and Australia where seeing nudes in magazines isn’t risqué but instead entirely normal. Adds the photographer, “All sorts of magazines (outside the U.S.) have nudes intermixed like it’s nothing.”<br />
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When he was younger, the Columbus native dreamed of being an Air Force pilot, but while studying at Ohio State University, he found out his sight wasn’t sharp enough for the cockpit. He did, however, find another use for his eyes. While serving in the Army, he first picked up a camera as a helicopter crew chief in a MedEvac unit. “Someone introduced me to black and white developing and I got hooked. I spent a good deal of time at the photo lab on base.” He also spent two rotations in Panama (“when Noriega was still considered a good guy”) and the U.S. supporting Army Ranger training, “picking up a lot of guys from Jump School with broken bones.”<br />
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Returning to Columbus, he did seven years in the Army reserves, got married, had a son and spent thousands of dollars on camera equipment, getting down to brass tacks and honing his style. Several years ago, one of his photographs was featured in the now defunct Australian magazine Black + White, which garnered international attention. “That led to a phone call from a Hollywood movie producer,” he says.<br />
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Willis flew to Australia to photograph actor Sam Neill (Jurassic Park, The Tudors). Through a growing list of Hollywood contacts, he began shooting edgy photos of actors and actresses to showcase their emotional ranges. “I don’t do your typical actor headshots,” Willis says. He hopes to focus his career on continuing work with major actors, and eventually expects to work full-time in New York. “I love being able to capture or create something, or [forge] a combo of both that will hold people’s attention,” he says. “If you want to be good at something, you have to be obsessed with it.”<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/_sfyHZh41lJM/TP8te4voGwI/AAAAAAAACi0/49qWzJpwiwU/s1600/tf16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/_sfyHZh41lJM/TP8te4voGwI/AAAAAAAACi0/49qWzJpwiwU/s320/tf16.jpg" width="240" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-74774732274074642232010-12-29T02:06:00.000-08:002010-12-29T02:06:16.660-08:00TORBJØRN RØDLAND<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.kopenhagen.dk/typo3temp/pics/0bcb620244.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://www.kopenhagen.dk/typo3temp/pics/0bcb620244.jpg" width="320" /></a></div><br />
Norwegian artist <a href="http://www.rodland.net/" target="_blank">Torbjørn Rødland</a> has been described as “to photography what the Pet Shop Boys are to pop music.” His contemporary, <a href="http://www.gilblank.com/" target="_blank">Gil Blank</a>, once described his photographs as “blatantly retarded in a consciously agile way.” For fifteen years, Rødland has been making work that baffles, finding something in common between nudists, priests, Nordic landscapes and curious still lifes of food, such as one of George W. Bush’s favorite things: Diet Coke, tortilla chips, The Very Hungry Caterpillar, Häagen-Dazs “Pralines & Cream” ice cream and A Field of Dreams. That’s only the beginning. It was an absolute pleasure to have the chance to speak with him about his books, his work and the meaning of images. The following conversation (text only) can also be viewed as a <a href="http://www.shanelavalette.com/journal/interviews/shanelavalette_torbjornrodland.pdf" target="_blank">printer-friendly PDF</a>.<br />
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<b>Shane Lavalette:</b> Tell me, when did photography come into your life?<br />
<b>Torbjørn Rødland:</b> Photography was always there. In popular media, my father’s private slideshows, and so on. But still in my early teens, I was more passionate about drawing. After doing caricatures and political cartoons for local newspapers, I got fed up with communicating easily decodable ideas through images. The drawings got more naïve and nonsensical, and editors found them less effective. I discovered Art and shifted focus from pen-and-ink drawing to photography. My father, who’s an amateur photographer, gave me a camera early on. Maybe I was eleven. Nine years later, I saw quite clearly that my photographs were involuntarily personal, while the drawings were really just aiming to be clever and to have a fun, dynamic line. <br />
<b>SL:</b> As you moved toward image making, what artists, photographers, etc. did you look at for inspiration?<br />
<b>TR:</b> The first contemporary artists I could really relate to were Americans like Sherrie Levine, James Welling, Richard Prince, Cindy Sherman, all from “The Pictures Generation.” So my starting point is the critical reconsideration of popular motifs or image types.<br />
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<b>SL:</b> Are you interested in clichés?<br />
<b>TR:</b> The Pictures Generation taught me that popular photography has as much to tell as – if not more than – modernist art photography. It’s a question of how the image is seen. I learned to look for ideology in entertainment and for reality in fiction. But hardcore appropriation wasn’t challenging enough, partly because I was too introverted and longed to leave the safety of the library to make my own images. Clichés? I don’t know anymore. I am attracted to pictures that aren’t appreciated in contemporary art, but only if they have what you could call mythical potential. A cliché is only interesting if it contains a hidden truth.<br />
<b>SL:</b> I agree. I look at photography not as an end but a means. This is especially so with work like yours, where I could likely spend an hour with an image and still not quite “get it” but always have a visceral response that takes me someplace new.<br />
<b>TR:</b> One hour? That I can like. I never hope for more than one minute.<br />
<b>SL:</b> The first time I saw your photographs was when I picked up a copy of your earliest book, <a href="http://www.photoeye.com/bookstore/mshowdetailsbycatAmazon.cfm?catalog=DP443&i=3865212220&i2=&CFID=8472579&CFTOKEN=41115294" target="_blank"><i>White Planet Black Heart</i></a> (steidlMACK, 2006). Tell me about that project. How did the book come together?<br />
<b>TR:</b> I was completely bored with thematic photography books. They place too much focus on motifs. Ed Ruscha knew that the concept of <i>Twentysix Gasoline Stations</i> was ridiculous – that was part of the rebellion, what made it so good – but I find intuitive coherency much more interesting than seriality now. So I wanted to break with the “100-Somethings” or “Pictures-from-Somewhere” type of book. I wanted to make a book that continues to challenge, as you go through it. I wanted the logic of the book to be perforated – and therefore erotic.<br />
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<b>SL:</b> Interesting… Erotic?<br />
<b>TR:</b> OK, let me try to talk about this. Why can’t the Pope support contraceptives? In the old way of thinking, there’s no way a condom will lead to something constructive, like a new person. On the contrary, it isolates pleasure from reason and is therefore a perversion. A photograph or a collection of photographs that ignores its usual objective is equally perverted. Perverted photography doesn’t sell a product or communicate a message. It’s not meant to be decoded, but to keep you in the process of looking. It’s layered and complex. It mirrors and triggers you without end and for no good reason, and that is erotic.<br />
Roland Barthes wrote a brilliant book about this called <i>The Pleasure of the Text</i>, and I’m paraphrasing him now even if this book dealt with text, not images. The history of photography is dominated by modernist ideals of immediacy, the dream of seeing the world as if for the first time. I represent a type of photography where memory and culture is an integrated part of seeing. Naïvety is attractive, but ultimately impossible. To understand 20th century documentary and amateur photography, you had to read <i>Camera Lucida</i>, but <i>The Pleasure of the Text</i> is a better book if you want to understand art photography after post-modernism.<br />
<b>SL:</b> What about the eroticism within your work?<br />
<b>TR:</b> Well, it is all linked. With photographic tactility or eroticism, I distance myself from both the didactics of Staged Photography and the anorecticism of newer conceptual art. Also, it’s a way to acknowledge the natural link between photography and the here-and-now.<br />
<b>SL:</b> There is something romantic yet utterly melancholic about these moments you share with us…<br />
<b>TR:</b> Clinical melancholia is when your observations fail to inspire action. The world is there to be looked at, not to be lived in. French psychiatrist Pierre Janet studied and wrote about this. I was a melancholic teenager, and I put my defect to work. Go with your strength, right? No medium does melancholia better than photography.<br />
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<b>SL:</b> Would you say that books are the ideal venue for experiencing your photographs?<br />
<b>TR:</b> I don’t know. I hope I never have to choose between exhibiting and publishing. If the images were not meant to be bigger than my books, I probably wouldn’t do them on large format negatives. There’s usually more to see in a big print… Maybe I have to make the books bigger.<br />
<b>SL:</b> How did you come in contact with the publisher, Michael Mack?<br />
<b>TR:</b> I was living in New York at the time and a studio visit from a curator led to a meeting with a distributor, which again led to a studio visit from Michael Mack. He was very clear that we were making a project book, not a survey of my most popular images. You cannot tell, but half of the photographs in <i>White Planet Black Heart</i> are made in the U.S.A. The faith-based foreign policy of the neo-conservative Bush administration is a recurrent sub-theme in the book.<br />
<b>SL:</b> Where does the title come from?<br />
<b>TR:</b> I wanted to establish a wide perspective, and the title also indicates a conflict of sorts. The qualities I look for in a title are similar to those I look for in a photograph: it’s not meaningful without an active viewer. You have to bring something to it.<br />
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<b>SL:</b> The images in your new book, <a href="http://www.photoeye.com/bookstore/mShowDetailsbycatAmazon.cfm?Catalog=DP912&i=9783865216175" target="_blank"><i>I Want to Live Innocent</i></a> (steidlMACK, 2008), were made in Stavanger, the city you grew up in. Can you talk about this work and what it means to have made these photographs at “home”?<br />
<b>TR:</b> <i>White Planet Black Heart</i> contains photographs from three or four continents. With <i>I Want to Live Innocent</i>, I wanted to see what happens to the reading of a collection of images if they are all done in, or claim to come out of, one specific part of the world. To prevent a classic documentary reading, I didn’t include a lot of photographs that clearly describe the place. I try to force a reading where the book deals with the place I grew up in, but mostly on a more symbolic level. So it is more about Life and Life Mediated, than it is about Stavanger. Stavanger was chosen because it is the only place I haven’t chosen. I was born there, but I had not been able to work there before. It is very satisfying to build a book from seemingly incongruent single images, only to find that it all makes sense somehow.<br />
<b>SL:</b> No script, just curiosity?<br />
<b>TR:</b> Yes, that works for me. I wrote a script for my first film, <i>The Exorcism of Mother Teresa</i>, but discovered that I had absolutely no interest in doing an image just to take me from B to C in a planned sequence. With the second film, <i>Heart All This & Dogg</i>, I put complete trust in my ability to make more improvised material come together in a meaningful way. The first film gave me that self-confidence.<br />
I accept that my imagination is limited: I cannot design a chair, but show me ten and I know which one is right for me. I suspect this is a typical photographer’s handicap.<br />
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<b>SL:</b> I recently saw your film, <a href="http://www.youtube.com/watch?v=dhm9cGDOXyk" target="_blank"><i>Non-Progress</i></a> (2006), which combines long, contemplative shots of ducklings, fish and a turtle with the private moments of a young woman who occasionally talks aloud to herself, reciting such lines as Mitch Hedberg’s famous, “Ducks’ opinions of me are very much influenced by whether or not I have bread.” I’m curious, how are your films in conversation with your photography?<br />
<b>TR:</b> Same themes, different medium. The films discuss photography by letting time, sound and movement into the static frame. They discuss what photography cannot do by having a different set of limitations. For a lot of people, the films are easier to grasp. You don’t have to wonder how to look at them as much. What has happened to Hedberg’s one-liners is also quite clear: they’re not funny. The humour is muted. You asked about clichés earlier… The intuitive strategy is here the same. I’m looking for something potentially meaningful in material that is normally not taken seriously.<br />
<b>SL:</b> Considering the limitations of photography – or what you refer to as “what photography cannot do” – how do you approach making and assessing a successful image?<br />
<b>TR:</b> It’s not really a goal for me to fully understand why I make an image a certain way or why I end up printing one negative and ignoring another. Combining the ones I like is a big enough task. This is a situation where the intellect is trying to comprehend the visceral. One way a photograph can be successful is if it’s a surprising but precise take on something that you suspect could become your reality – and if you’d like to look at it again tomorrow. On the negative side, a photograph is clearly too ambiguous to constitute a precise critique.<br />
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<b>SL:</b> You often focus on the presence of nature, both in your films and in your photographs. What does nature mean to you?<br />
<b>TR:</b> We’re still struggling with the idea of being nature. We see culture quite clearly, but the big questions concerning nature are forever clouded in mystery. I am comfortable with and triggered by this lack of knowledge. Rather than expecting mystery to be unveiled, I try to deal with it. This makes me a religious artist.<br />
<b>SL:</b> I Want to Live Innocent has no explanatory text in the book – only the photographs and their captions. Do you think that contemporary photographers should rely less on writing? When is text necessary?<br />
<b>TR:</b> An institution producing a catalogue for a show needs an authoritative text to justify their choices, but if a photographer is producing a project book I think they should be careful with text. Sometimes it’s necessary, to open up a project, to help free it from conventional perception. An interview is always clarifying, but the three-page catalogue essays you see everywhere are no fun. I don’t read them. They’re like the liner-notes on LPs from the 1960s. You know why they’re written, and they carry no weight. So yes, there’s no writing in Innocent, but White Planet has three texts: two ‘open letters’ and one ambitious academic essay by Ina Blom.<br />
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<b>SL:</b> <a href="http://www.andrewkreps.com/ethridge.html" target="_blank">Roe Ethridge</a> is a photographer that has used the same images in advertising and art galleries. While many people question this, others see it as part of his work, an intelligent critique of the history and conventions of photography. Some of your images seem very much concerned with this idea, referencing fashion spreads, product photography, etc. Can you discuss how you are utilizing these commercial conventions within the context of art? Would you ever use your photographs for commercial purposes, as Roe has?<br />
<b>TR:</b> No, I don’t even do commissioned work for magazines. Roe is more pragmatic, while building on a <a href="http://www.davidzwirner.com/artists/1/" target="_blank">Christopher Williams</a>-type of conceptualism where he links his output to the production and distribution of market-driven photographic desire. We talked about perversion earlier. I like to see what happens when a photograph that probably could sell a product refuses to do so. If all of a sudden it is selling shirts, the image loses its perverse potency. I also like to see what happens when a photograph that could sell a product (but does not) isn’t all about that refusal. Do you know what I mean? I’ve seen enough effective commercial photography lifted from magazines and moved into art spaces with blanks, scribbles, stains, skulls or holes added. It’s time to give up on this strategy. Compared to Critique as a quickly recognizable artistic genre, it’s actually more challenging to see Roe promoting telecommunication or whatever.<br />
<b>SL:</b> In a more general sense, how do you view images? Are they simply conveyors of meaning – language, emotions, ideas, etc. – that can be fit into a number of situations, or are there restrictions to their use?<br />
<b>TR:</b> To a certain extent it’s true that they give meaning to each other, so it is interesting to look at them with different neighbors. But, of course, a majority of juxtapositions are unproductive. If we’re talking group-shows, I prefer to show my still images with sculpture, drawing, text-pieces, etc. The work of other photographers often establishes a mode of looking at pictures that I find limiting. So, yes, there are restrictions. You want what you do to make sense, and I believe you have to protect your output. You need ambitions on behalf of the work. Only insensitive photographs can hope to overwhelm the context. <br />
<b>SL:</b> You’ve actually done some curating yourself. Tell me about the show you put together this past summer at <a href="http://www.standardoslo.no/" target="_blank">STANDARD (OSLO)</a> entitled “Tell Tchaikovsky the News.”<br />
<b>TR:</b> Artists now link their output to history in a freer way than say, twenty years ago. Post-modernism had a need to end history, to end art. Younger generations, born into a world where rock was a mature art form, can relate everyday affective life to themes or artistic techniques from the past without it being such a big deal. I put this show together looking for new ways of thinking about borrowings and primitivisms in visual art – linking the new mentalities to the revolutionary romanticism of mainstream rock culture. The artists in the show were Roe Ethridge, Monica Majoli, Uwe Henneken, Ricky Swallow, Olaf Breuning and Lucy McKenzie.<br />
<b>SL:</b> It seems as if it is becoming more and more common for artists to wear multiple hats within the art world, simultaneously playing the roles of artist, curator, editor, critic, etc. What do you make of this?<br />
<b>TR:</b> The only way I can believe in my so-called curating is if I keep a familiar hat on. Putting together “Tell Tchaikovsky the News” was very much like making my own show, only with other people’s work. I have to get in contact with the part of me that would have produced the piece and only then do I know how to exhibit it. Presenting and combining things I’ve seen to find out how and what they can mean today… This is what I do full time.<br />
<b>SL:</b> What’s next for you?<br />
<b>TR:</b> A book on death.<br />
–suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-13334395046107144362010-12-26T08:05:00.000-08:002010-12-26T08:05:51.547-08:00HERR BUCHTA<div class="separator" style="clear: both; text-align: center;"><a href="http://fc07.deviantart.net/fs71/f/2010/207/f/3/SELFPORTRAIT_by_HerrBuchta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="229" src="http://fc07.deviantart.net/fs71/f/2010/207/f/3/SELFPORTRAIT_by_HerrBuchta.jpg" width="320" /></a></div>The photo artist Herr Butcha turns reality upside down in his pictures and created his own phantasy of a bizarre visual world where the artist sometimes likes to take the role of the protagonist buchta, the jester, the twisted, takes the spectator on a journey into a grotesque world which is artfully and perfect staged.<div class="separator" style="clear: both; text-align: center;"><a href="http://www.yuh.ru/img/herr_buchta_25.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="http://www.yuh.ru/img/herr_buchta_25.jpg" width="320" /></a></div><br />
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Herr Buchta recently published its second book "Intense", of a high quality. <br />
Short text of introduction of the painter and the writer Norbert Potthoff, very interesting.<br />
It is one fascinating journey in the world of the artist. <br />
At the beginning, I was a little surprised that Buchta has some "normal" photos, as I knew nothing of him until now. <br />
The rest of its photos is bizarre, sometimes unrefined and controversed.<br />
His work generates some disgust, the refusal, or the fascination, but often a wide smile..<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://fc08.deviantart.net/fs13/f/2007/065/7/3/Chick_in_Chains_by_HerrBuchta.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="248" src="http://fc08.deviantart.net/fs13/f/2007/065/7/3/Chick_in_Chains_by_HerrBuchta.jpg" width="320" /></a></div>Buchta stages in several photos, not as king, but shameless, he uses himself as a means of auto-mockery.<br />
Besides Buchta, in "Intense" there a variety of extravaguants models. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://s319517467.online.de/herrbuchta/2010/content/bin/images/large/21990838.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="http://s319517467.online.de/herrbuchta/2010/content/bin/images/large/21990838.jpg" width="320" /></a></div><span class="" id="result_box" lang="en"><span class="hps" title="Cliquer ici pour voir d'autres traductions">In</span> <span class="hps atn" title="Cliquer ici pour voir d'autres traductions">"</span><span class="" title="Cliquer ici pour voir d'autres traductions">Intense</span><span class="" title="Cliquer ici pour voir d'autres traductions">"</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is a large</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">variety</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">of</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">styles</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">topics.</span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">Surreal</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">wacky</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">too</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">grotesque</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">to</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">be</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">provocative</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">humorous</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">it</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">Buchta</span><span class="" title="Cliquer ici pour voir d'autres traductions">!</span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">One thing</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">certain</span><span class="" title="Cliquer ici pour voir d'autres traductions">:</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">This</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">picture book</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">is really</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">worth</span><span class="" title="Cliquer ici pour voir d'autres traductions">!</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">To</span><br />
<span class="hps" title="Cliquer ici pour voir d'autres traductions">for</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">about 35</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">€</span><span class="" title="Cliquer ici pour voir d'autres traductions">,</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">you</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">can</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">laugh</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">as long</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">and as</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">often as</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">you</span> <span class="hps" title="Cliquer ici pour voir d'autres traductions">like.</span></span><br />
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</div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-11055598674971519072010-12-25T14:46:00.000-08:002010-12-25T14:46:39.875-08:00EDUARD VAN GIEL<div class="separator" style="clear: both; text-align: center;"><a href="http://warehouse.parosweb.com/graphics/images/artist01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://warehouse.parosweb.com/graphics/images/artist01.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://warehouse.parosweb.com/graphics/images/artist07.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="146" src="http://warehouse.parosweb.com/graphics/images/artist07.gif" width="213" /></a><a href="http://www.kleinantwerpen.be/page42/edouard%20van%20giel%2003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="http://www.kleinantwerpen.be/page42/edouard%20van%20giel%2003.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJvtJ6SmHzRFhPIO84aC5dO6vF_B0LZqWDbFmNRS2jpMqL7jc8JDgwxmmL4qWwA2rtvtr66t2DnSefyqJwWqdEkxyhqZRc2wEfm_L1iCf5RNr_wR31G9AEyQ61MSuPPJm7I5EJwZYgRiY/s1600/00.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJvtJ6SmHzRFhPIO84aC5dO6vF_B0LZqWDbFmNRS2jpMqL7jc8JDgwxmmL4qWwA2rtvtr66t2DnSefyqJwWqdEkxyhqZRc2wEfm_L1iCf5RNr_wR31G9AEyQ61MSuPPJm7I5EJwZYgRiY/s320/00.gif" width="256" /> </a></div>Considered as one of the pop art artists major art in Belgium, he worked for a long time on the light, neon, and possesses an acrid and controversial humor.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://farm4.static.flickr.com/3076/2718511432_b4fdc002ea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="http://farm4.static.flickr.com/3076/2718511432_b4fdc002ea.jpg" width="320" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-19484085249084940912010-12-25T08:20:00.000-08:002010-12-25T08:20:35.942-08:00JULIETA SANS<span class="maintext">Julieta Sans says"<i>As a photographer I am interested in the moment where people let their guard down and show themselves in their vulnerability. Perhaps for that instant, and regardless of how little we may know or understand each other, we will reach some kind of empathy, as brief as it may be.</i></span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOHd58AeokDj4505fRpXfYGQ1RYyaBx_auqSm-jykCzyIPKl06xjkDdNwT4hBnnd4Z4rSB65qY2xq65aXt8pPq3QldXfYupc8eZuP33YMjnn0RcmtITrMOGuSpKLufr6h0OwxHsZ4RSc/s1600/memory1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="160" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOHd58AeokDj4505fRpXfYGQ1RYyaBx_auqSm-jykCzyIPKl06xjkDdNwT4hBnnd4Z4rSB65qY2xq65aXt8pPq3QldXfYupc8eZuP33YMjnn0RcmtITrMOGuSpKLufr6h0OwxHsZ4RSc/s320/memory1.jpg" width="320" /></a></div><span class="maintext"><i>My position as a photographer is voyeuristic but in a way in which I don't expect the model to perform but to agree to some sort of exchange with me, as if in a way they were pretending not to know someone was there to spy on them. How do we see ourselves and what do we choose to show the others? My work also explores sensuality as opposed to seduction: the brief moments in which, in solitude, one can be amazed by one's own beauty, be it physical or in a brief gesture</i>" </span><br />
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<span class="maintext">Born in Buenos Aires, Argentina, Julieta started photography school while studying Literature at university. She then moved to Barcelona where she pursued her studies and personal work and finally settled in London where she finished her postgraduate studies at Central Saint Martins. Julieta has exhibited ner work in Buenos Aires, Barcelona, London and Paris and collaborated with several different publications. Her work will next be featured alongside a piece she has written in DayFour´s next issue and exhibition, "<i>Winter Notes on Summer Impressions</i>". </span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://julietasans.com/images/projects/large/dead_sea_%285%29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://julietasans.com/images/projects/large/dead_sea_%285%29.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://julietasans.com/images/projects/large/wellread13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://julietasans.com/images/projects/large/wellread13.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://julietasans.com/images/projects/large/wellread4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://julietasans.com/images/projects/large/wellread4.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://julietasans.com/images/projects/large/sarah2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://julietasans.com/images/projects/large/sarah2.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://julietasans.com/images/projects/large/suspended_animation_%281%29.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://julietasans.com/images/projects/large/suspended_animation_%281%29.jpg" width="320" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com1tag:blogger.com,1999:blog-188533390220935098.post-721975835305443992010-12-24T07:23:00.000-08:002010-12-24T07:23:02.971-08:00NADJA GROUX<div class="separator" style="clear: both; text-align: center;"><a href="http://www.nadjagroux.com/images/10_1_closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="http://www.nadjagroux.com/images/10_1_closeup.jpg" width="320" /></a></div>Until now, I have used the camera as an autobiographical and narrative tool. Most of my works are photo-based image-sequences based on my own experiences that evolve into narrative developments. My photo work relates to performance art in that sense that I use images of my own intimate space and my own body as the subject of a story I deliver to the outside world. However, my art is presently leading to the choreography of foreign space. I intend to use foreign subjects and tri-dimentional installations where the viewers complete the actual work by interacting with the environments I have created. Viewing my art works should be a cinematic experience and involve the viewer in an intimate relationship with the piece that would leave him or her with a mental projection of a narrative to be interpreted or reappropriated.As an artist my goals are: to develop an interesting dialogue with the viewers of my work; to develop exhibition opportunities of my artwork and to participate in the development of art communities.<br />
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My work has been shown in various venues in France, England, Colombia and in New York. In New York, I have shown my work at Galapagos (Williamsburg, Brooklyn), at the A+A Gallery in the Lower East Side (Manhattan), at the New York Independent Art Fair ‘Frere‘, the LFL gallery, the 16Beaver space, at Columbia University and the UN. - I have also participated in the activities of various artists collectives in New York. From 1999 to 2000, I was part of ‘air-Brooklyn‘, a Williamsburg artists association that no longer exists. This allowed me both to exhibit my work and to curate shows. - With the 16Beaver group, a collection of artists who explore esthetic and critical theories, I have created a performance for Access Zone at the Bronx Museum of the Arts.<br />
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The piece was a performance in which I was ‘working the crowd’ both like a spy and a street photographer, taking the photos of the events, the people around the events, and then having them in the info area. This project was an attempt to show ‘hidden’/ ‘unconscious’ collaboration. - I am writing my Ph.D. in Anthropology for Cambridge University (United-Kingdom) on the distinct spatial representations of the Maku Indians of Colombian Amazonia and of the coca growers who come from urban area and invade their territory. In the end, I believe that my artwork is done through the eyes of an anthropologist and I am now developing a project with Palestinian children called ‘Children of Conscience’ that fuses anthropology and art as well as humanitarian intervention.<br />
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- My commercial photographs are represented by SLPstock, a photo agency under contract with TimePix and I am currently collaborating with Medecins Sans Frontieres/Doctors Without Borders, assisting in the photo documentation of their work, specifically in South America among indigenous populations and in Israel/Palestine.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.nadjagroux.com/images/3_5_closeup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="http://www.nadjagroux.com/images/3_5_closeup.jpg" width="320" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-41330405115972321682010-12-24T01:22:00.000-08:002010-12-24T01:22:25.449-08:00CATHERINE MATAUSCH<div class="separator" style="clear: both; text-align: center;"><a href="http://tvmag.tvimg.partner-tvmag.net/ImCon/Arti/19003/2611040903.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://tvmag.tvimg.partner-tvmag.net/ImCon/Arti/19003/2611040903.JPG" width="320" /></a></div>Catherine Matausch is a painter and French journalist, been born in 1960 ( Brignoles, Var).<br />
Presenter on the French television of the news (France 3).<br />
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" Because to paint it is to listen to and to perceive somewhere else ", Catherine Matausch chose the paint to meet better.<br />
Far from television studio sets, the journalist becomes an artist and leaves with weather the care of stopping.<br />
Pads of sketch always at hand, her glance ceaselessly seems to have a walk, to rummage according to the forms and the colors which offer the urban horizons or the isolated landscapes.<br />
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Admitted objective: merge in the heart of the atmospheres.<br />
Move in them to seize them better. Absorb this world which surrounds it, almost until the drunkenness.<br />
" This place which I paint is necessarily the one which feeds me, me loving, with in the rear the same need to return to it. " Always the necessity of testifying of this time which takes off, of all these feelings of moment.<br />
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Of surges printed by light, in more skinned, more tortured lines, the artist spins, without ever forgetting to deliver to some of her paintings her perfect parts.<br />
Soaked with earth and with nature, Cath Math gives free rein to its instinctive pondering. Of her paintings shows through the most beautiful of the invitations, that " to see the imagination. "<br />
Guillaume FRIXON - Journalist.<br />
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suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-40333997395487872122010-12-23T05:42:00.000-08:002010-12-23T05:42:13.904-08:00LUCIAN FREUD<div class="separator" style="clear: both; text-align: center;"><a href="http://www.ibiblio.org/wm/paint/auth/freud/freud.paddington.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.ibiblio.org/wm/paint/auth/freud/freud.paddington.jpg" width="236" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.ibiblio.org/wm/paint/auth/freud/freud.paddington.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div style="color: black;">Lucian Freud is the son of an Austrian Jewish father, <a href="http://en.wikipedia.org/wiki/Ernst_Ludwig_Freud" title="Ernst Ludwig Freud">Ernst Ludwig Freud</a>, an architect, and a German mother, Lucie née Brasch.<sup class="reference" id="cite_ref-spurling_0-0"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-spurling-0"><span></span><span></span></a></sup> He is the grandson of <a href="http://en.wikipedia.org/wiki/Sigmund_Freud" title="Sigmund Freud">Sigmund Freud</a>, brother of the late broadcaster, writer and politician <a href="http://en.wikipedia.org/wiki/Clement_Freud" title="Clement Freud">Clement Freud</a> (thus uncle of <a href="http://en.wikipedia.org/wiki/Emma_Freud" title="Emma Freud">Emma</a> and <a href="http://en.wikipedia.org/wiki/Matthew_Freud" title="Matthew Freud">Matthew Freud</a>) and of Stephan Gabriel Freud. He moved with his family to England in 1933 to escape the rise of <a href="http://en.wikipedia.org/wiki/Nazism" title="Nazism">Nazism</a>. He became a British citizen in 1939,<sup class="reference" id="cite_ref-spurling_0-1"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-spurling-0"><span></span><span></span></a></sup> having attended <a href="http://en.wikipedia.org/wiki/Dartington_Hall" title="Dartington Hall">Dartington Hall</a> school in <a href="http://en.wikipedia.org/wiki/Totnes" title="Totnes">Totnes</a>, <a href="http://en.wikipedia.org/wiki/Devon" title="Devon">Devon</a>, and later <a href="http://en.wikipedia.org/wiki/Bryanston_School" title="Bryanston School">Bryanston School</a>.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://upload.wikimedia.org/wikipedia/commons/c/c4/LucienFreud.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://upload.wikimedia.org/wikipedia/commons/c/c4/LucienFreud.jpg" width="211" /></a></div><br />
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Freud briefly studied at the <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Central_School_of_Art" title="Central School of Art">Central School of Art</a> in London then, with greater success, at <a href="http://en.wikipedia.org/wiki/Cedric_Morris" title="Cedric Morris">Cedric Morris</a>' <a href="http://en.wikipedia.org/wiki/East_Anglian_School_of_Painting_and_Drawing" title="East Anglian School of Painting and Drawing">East Anglian School of Painting and Drawing</a> in <a href="http://en.wikipedia.org/wiki/Dedham,_Essex" title="Dedham, Essex">Dedham</a>, relocated in 1940 at Benton End near Hadleigh. He also attended <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Goldsmiths_College" title="Goldsmiths College">Goldsmiths College - University of London</a> from 1942-3. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942. In 1943, <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Tambimuttu" title="Tambimuttu">Tambimuttu</a>, the Ceylonese editor, commissioned the young artist to illustrate a book of poems by <a href="http://en.wikipedia.org/wiki/Nicholas_Moore" title="Nicholas Moore">Nicholas Moore</a> entitled "The Glass Tower". It was published the following year by Editions <a href="http://en.wikipedia.org/wiki/Poetry_London" title="Poetry London">Poetry London</a> and comprised, among other drawings, a stuffed zebra (-cum-unicorn) and a palm tree. Both subjects reappeared in <i>The Painter's Room</i> on display at Freud's first solo exhibition in 1944 at the Alex Reid & Lefevre Gallery. In the summer of 1946, he travelled to Paris before continuing to Greece for several months. Since then he has lived and worked in London.<br />
In the early fifties the American artist <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Ronald_Kitaj" title="Ronald Kitaj">Ronald Kitaj</a> who was installed in London, named as "The School of London" a loose collection of individual artists who knew each other, some intimately, and were working in London at the same time in the figurative style. (It should be noted that this was during the boom years of abstract painting.) The group was led by figures such as <a href="http://en.wikipedia.org/wiki/Francis_Bacon_%28artist%29" title="Francis Bacon (artist)">Francis Bacon</a> and Lucian Freud, and included artists such as <a href="http://en.wikipedia.org/wiki/Frank_Auerbach" title="Frank Auerbach">Frank Auerbach</a>, <a href="http://en.wikipedia.org/wiki/Michael_Andrews" title="Michael Andrews">Michael Andrews</a>, <a href="http://en.wikipedia.org/wiki/Robert_Colquhoun" title="Robert Colquhoun">Robert Colquhoun</a>, <a href="http://en.wikipedia.org/wiki/Robert_MacBryde" title="Robert MacBryde">Robert MacBryde</a>, <a href="http://en.wikipedia.org/wiki/Reginald_Gray" title="Reginald Gray">Reginald Gray</a>, <a href="http://en.wikipedia.org/wiki/Patrick_Swift" title="Patrick Swift">Patrick Swift</a> and Kitaj. (Most of these artists, including Freud, contributed to Swift's <a href="http://en.wikipedia.org/wiki/X_%28magazine%29" title="X (magazine)"><i>X</i> magazine</a>; Freud shared Swift´s studio on his frequent visits to <a href="http://en.wikipedia.org/wiki/Dublin" title="Dublin">Dublin</a> in the early 1950s),<br />
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Freud's early paintings are often associated with <a href="http://en.wikipedia.org/wiki/Surrealism" title="Surrealism">surrealism</a> and depict people, plants and animals in unusual juxtapositions. These works are usually painted with relatively thin paint.<br />
From the 1950s he began to paint portraits, often nudes, to the almost complete exclusion of everything else, employing a thicker <a href="http://en.wikipedia.org/wiki/Impasto" title="Impasto">impasto</a>. With this technique, he would often clean his brush after each stroke. The colours in these paintings are typically muted.<br />
Freud's portraits often depict only the sitter, sometimes sprawled naked on the floor or on a bed or alternatively juxtaposed with something else, as in <i>Girl With a White Dog</i> (1951–52) and <i>Naked Man With Rat</i> (1977–78)<sup class="reference" id="cite_ref-1"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-1"><span>[</span>2<span>]</span></a></sup>. The use of animals in his compositions is widespread, and often features pet and owner. Other examples of portraits with both animals and people in Freud's work include <i>Guy and Speck</i> (1980–81), <i>Eli and David</i> (2005–06) and <i>Double Portrait</i> (1985–86).<sup class="reference" id="cite_ref-2"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-2"><span>[</span>3<span>]</span></a></sup> He has a special passion for horses, having enjoyed riding at school in Dartington, where he sometimes slept in the stables.<sup class="reference" id="cite_ref-3"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-3"><span>[</span>4<span>]</span></a></sup> His portraits solely of horses include <i>Grey Gelding</i> (2003), <i>Skewbald Mare</i> (2004), and <i>Mare Eating Hay</i> (2006).<br />
Freud's subjects are often the people in his life; friends, family, fellow painters, lovers, children. He said, "The subject matter is autobiographical, it's all to do with hope and memory and sensuality and involvement, really."<sup class="reference" id="cite_ref-4"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-4"><span>[</span>5<span>]</span></a></sup><br />
In art critic Martin Gayford's 2010 book, Man with a Blue Scarf: On Sitting for a Portrait by Lucian Freud, Gayford chronicles the forty days he spent with Lucian Freud while sitting for his portrait. Gayford surmises that Freud seeks to capture his model's individuality by, as Gayford names it, his "omnivorous" gaze. Gayford also mentions that his final portrait seemed to “reveal secrets—ageing, ugliness, faults—that I imagine…I am hiding from the world...” - suggesting how sharp and penetrating Freud's gaze is. <br />
<a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-5"><span></span></a><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.ibiblio.org/wm/paint/auth/freud/freud.naked-girl-asleep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="http://www.ibiblio.org/wm/paint/auth/freud/freud.naked-girl-asleep.jpg" width="320" /></a></div>"I paint people," Freud has said, "not because of what they are like, not exactly in spite of what they are like, but how they happen to be." Freud has painted fellow artists, including <a href="http://en.wikipedia.org/wiki/Frank_Auerbach" title="Frank Auerbach">Frank Auerbach</a> and <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Francis_Bacon_%28painter%29" title="Francis Bacon (painter)">Francis Bacon</a>. He produced a series of portraits of the <a href="http://en.wikipedia.org/wiki/Performance_art" title="Performance art">performance artist</a> <a href="http://en.wikipedia.org/wiki/Leigh_Bowery" title="Leigh Bowery">Leigh Bowery</a>, and also painted <a href="http://en.wikipedia.org/wiki/Henrietta_Moraes" title="Henrietta Moraes">Henrietta Moraes</a>, a muse to many Soho artists. Freud is one of the best known British artists working in a representational style, and was shortlisted for the <a href="http://en.wikipedia.org/wiki/Turner_Prize" title="Turner Prize">Turner Prize</a> in 1989.<sup class="reference" id="cite_ref-6"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-6"><span></span><span></span></a></sup><br />
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</div></div>His painting <i>After Cézanne</i>, which is notable because of its unusual shape, was bought by the <a href="http://en.wikipedia.org/wiki/National_Gallery_of_Australia" title="National Gallery of Australia">National Gallery of Australia</a> for $7.4 million. The top left section of this painting has been 'grafted' on to the main section below, and closer inspection reveals a horizontal line where these two sections were joined.<br />
He was a visiting tutor at the <a href="http://en.wikipedia.org/wiki/Slade_School_of_Fine_Art" title="Slade School of Fine Art">Slade School of Fine Art</a> of <a href="http://en.wikipedia.org/wiki/University_College_London" title="University College London">University College London</a> from 1949-54.<br />
In 1996, Abbot Hall Art Gallery in <a href="http://en.wikipedia.org/wiki/Kendal" title="Kendal">Kendal</a> mounted a major exhibition of 27 paintings and thirteen etchings, covering the whole period of Freud's working life to date. The following year the <a href="http://en.wikipedia.org/wiki/Scottish_National_Gallery_of_Modern_Art" title="Scottish National Gallery of Modern Art">Scottish National Gallery of Modern Art</a> presented "Lucian Freud: Early Works". The exhibition comprised around 30 drawings and paintings done between 1940 and 1945<sup class="reference" id="cite_ref-7"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-7"><span>[</span>8<span>]</span></a></sup>. This was followed by a large retrospective at <a href="http://en.wikipedia.org/wiki/Tate_Britain" title="Tate Britain">Tate Britain</a> in 2002. During a period from May 2000 to December 2001, Freud painted <a class="mw-redirect" href="http://en.wikipedia.org/wiki/Elizabeth_II_of_the_United_Kingdom" title="Elizabeth II of the United Kingdom">Queen Elizabeth II</a>. There was criticism of this portrayal of the Queen in some sections of the British media. The highest selling tabloid newspaper, <i><a class="mw-redirect" href="http://en.wikipedia.org/wiki/The_Sun_%28newspaper%29" title="The Sun (newspaper)">The Sun</a></i>, was particularly condemnatory, describing the portrait as "a travesty".<sup class="reference" id="cite_ref-8"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-8"><span>[</span>9<span>]</span></a></sup> In late 2007, a collection of Freud's etchings titled "Lucian Freud: The Painter’s Etchings" went on display at the <a href="http://en.wikipedia.org/wiki/Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a>.<sup class="reference" id="cite_ref-CV_9-0"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-CV-9"><span>[</span>10<span>]</span></a></sup><br />
In May 2008, his 1995 portrait <i><a href="http://en.wikipedia.org/wiki/Benefits_Supervisor_Sleeping" title="Benefits Supervisor Sleeping">Benefits Supervisor Sleeping</a></i> was sold by auction by <a href="http://en.wikipedia.org/wiki/Christie%27s" title="Christie's">Christie's</a> in New York City for $33.6 million, setting a world record for sale value of a painting by a living artist.<sup class="reference" id="cite_ref-10"><a href="http://en.wikipedia.org/wiki/Lucian_Freud#cite_note-10"><span>[</span>11<span>]</span></a></sup><br />
In November 2008, letters written by Freud were obtained by <i><a href="http://en.wikipedia.org/wiki/The_Independent" title="The Independent">The Independent</a></i> under the <a href="http://en.wikipedia.org/wiki/Freedom_of_information_in_the_United_Kingdom" title="Freedom of information in the United Kingdom">Freedom of Information Act</a>. They detail his bitter dispute with some of the most powerful figures in the art world after he was asked to represent Britain at the 1954 <a href="http://en.wikipedia.org/wiki/Venice_Biennale" title="Venice Biennale">Venice Biennale</a>, the world's leading contemporary art exhibition. The publicity-shy portrait painter locked horns with gallery officials after a selection committee rebuffed his suggestions of works to show in Italy. The article includes a copy of the letter written by Freud to the <a href="http://en.wikipedia.org/wiki/British_Council" title="British Council">British Council</a> complaining about the selection process<br />
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</div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-62988957020328563162010-12-23T05:34:00.000-08:002010-12-23T05:34:33.716-08:00TSANG KIN-WAH<div class="separator" style="clear: both; text-align: center;"><a href="http://chinadesign.lecolededesign.com/wp-content/uploads/2008/09/tsang-kinwah-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br />
</a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://chinadesign.lecolededesign.com/wp-content/uploads/2008/09/tsang-kinwah-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;">Born in Shantou, Guangdong Province, China, 1976 & lives and works in Hong Kong.</span></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://weblog.bezembinder.nl/1351-1370/tsang-kin-wah-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://weblog.bezembinder.nl/1351-1370/tsang-kin-wah-1.jpg" width="320" /></a></div><br />
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<h2 class="style41 style46 style72"><strong>The Seven Seals (2009 - present)</strong></h2><hr noshade="noshade" size="7" /> <div class="style76">“The Seven Seals” is an on-going series of seven digital video installations using texts and computer technology to show Tsang’s thoughts on various issues of the day. “The Seven Seals” draws its reference from various sources including the Bible, Judeo-Christian eschatology, existentialism, metaphysics, politics, etc., which all attempt to articulate the complex situation of the world and the dilemmas that people are facing while approaching “the end of the world”. </div><div class="style76">Animated phases and short sentences appear and move and float, sometimes, like a murmur and sometimes like an admonition that reveals the nature of human beings and the changes of our emotions. The texts remind us of issues like war, terrorism, revolution, death, murder, suicide, self-denial, etc. </div><div class="style76">Without a clear beginning or end, each installation in the “The Seven Seals” creates different cycles of text on continuous loops that appear to repeat without end; echoing the concept of “eternal recurrence” whereby all the issues and dilemmas of daily existence are seen perpetually recurring for an infinite number of fleeting instances, even though we recognize and are aware of them for a much longer time. </div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.430.com.hk/blog/wp-content/uploads/2010/12/037_Wah_exhibition_700x395.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="http://www.430.com.hk/blog/wp-content/uploads/2010/12/037_Wah_exhibition_700x395.jpg" width="320" /></a></div><h2 align="left" class="style41 style46"><span class="style71"><strong>Porn Painting</strong> (2008 - )</span></h2><hr align="center" noshade="noshade" size="7" /> <br />
<div class="style46 style58 style78">Apollo met Dionysus one day, and said, "God damn you!" </div><div class="style46 style58 style78">"What?! … For what? You mean I damn myself? You damn me? or Zeus damns me?" Dionysus said. </div><div class="style46 style58 style78">"Whatever! God damn you! Son of a bitch!" </div><div class="style46 style58 style78">"… Okay… If I'm son of a bitch, who's that bitch? Semele or … Zeus?"</div><div class="style46 style58 style78">"… Whatever... Son of a bitch! Fuck you!"</div><div class="style46 style58 style78">"Obviously, bitch is female, so I think you're talking about my mom, Semele. But I was actually born from Zeus's thigh, so Zeus could also be considered as my "mother" in some aspects. In this case, "bitch" is pointing to Zeus too, who is also your father, I believe. And if Zeus is a bitch, you're son of Zeus… then do you mean you're son of that bitch too?"</div><div class="style46 style58 style78">"… Damn you! I'll kill your dad and rape your fucking mom!!"</div><div class="style46 style58 style78">"… Well. If you kill my dad (Zeus) and rape my mom, who could also be considered as your mom in some aspects, then you may have some kind of Oedipus complex… Do you need to have medical consultation from Freud? He should be somewhere around here."</div><div class="style46 style58 style78">"Fuck you!!! You! Dionysus! Son of a fucking bitch!!! I'll fucking kill you and your whole fucking family!!! Fucking rape your fucking mom and fucking sisters!!! I'm gonna chop your head, eat your body and drink your blood!!!"</div><div class="style46 style58 style78">"… Are you … okay …? … Are you drunk?? … You stole my wine?! Didn't you ...?"</div><div class="style46 style58 style78">"Fuck You!!! X$)%*#)(@~~~ "</div><div class="style46 style58 style78"><br />
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</tbody></table>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-47708920871521790442010-12-23T04:49:00.000-08:002010-12-23T04:49:10.655-08:00YLVA-MARIA THOMPSON<div class="separator" style="clear: both; text-align: center;"><a href="http://gfx.aftonbladet-cdn.se/multimedia/dynamic/00841/Ylva-Maria-Thompson_841254b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://gfx.aftonbladet-cdn.se/multimedia/dynamic/00841/Ylva-Maria-Thompson_841254b.jpg" /></a></div><br />
Ylva Maria Thompson is an artist, writer, debater and sensorial sampler, born in 1960 in Sweden<br />
She got famous in the 80´s and 90´s when she was the delightful and impudent host of the erotic TV show “Tusen och en natt”, wherein she provoked Sweden by showing pornographic movies, debating sex and lust and having fun.<br />
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<tr><td colspan="2" style="padding: 0.75pt; width: 52%;" width="52%"><span style="font-family: Verdana; font-size: 7.5pt;">Ylva Mary Thompson am grafting with all knock technician, from photo and graphic to sculpture and performance.</span><br />
<span style="font-family: Verdana; font-size: 7.5pt;">A reds assess in hers job is exploration of they physical limitations bodyam creating.</span><br />
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<span style="font-family: Verdana; font-size: 7.5pt;">Brutal metaphor if body as jail and freedoms, könsrollernas limiting effect and shamelessness price, find there for the as shall read beyond surfaces ornamental beauty.</span><br />
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</tbody></table>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-26355567118941122762010-12-23T03:20:00.000-08:002010-12-23T03:20:17.644-08:00HANNAH WILKE<div class="separator" style="clear: both; text-align: center;"><a href="http://www.hannahwilke.com/sitebuildercontent/sitebuilderpictures/hannahwilkeintra-venus7left.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="http://www.hannahwilke.com/sitebuildercontent/sitebuilderpictures/hannahwilkeintra-venus7left.jpg" width="320" /></a></div><div class="style1"><br />
</div><div class="style1">American artist Hannah Wilke was born in New York in 1940 and died prematurely from cancer in 1993. Although she worked primarily as a sculptor, she also produced many drawings, photographs, and videos that deal with social, political, and gender issues. Her work has been affiliated with many different contemporary movements, including Abstract Expressionism (stress on creative process and individual gesture), Minimalism (focus on reductive form and materiality of the object), and Conceptualism (practice of social criticism). Yet, her oeuvre is best understood, on the one hand, vis-à-vis Marcel Duchamp's involvement with language, eroticism, and twisted humor, and, on the other hand, in connection to Body and Performance Art in the use of her own body to address issues of sexuality. </div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://images.artnet.com/artwork_images/373/19410.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="209" src="http://images.artnet.com/artwork_images/373/19410.jpg" width="320" /></a></div>Wilke believed in physical and emotional self-exposure as both an aesthetic and a spiritual process of undressing the body and soul. Although they experiment with many materials--such as clay, lint, latex, chocolate, chewing gum, and her own body--all of her works carry something sensual and horrific, beautiful and destructive. Wilke's sculptural pieces rely on minimalist aesthetics of systematic ordering and repetition, yet they are imbued with metaphoric, organic, and sexual implications. Some suggest human flesh or flowers as symbols of blossom and delight, and others take the form of sags or hangings on hooks as signs of deterioration or decay. While her ceramic groupings resemble neatly planted gardens, her chewing-gum pieces are phallic forms breathing with eroticism.<br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/262.350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://www.brooklynmuseum.org/eascfa/feminist_art_base/archive/images/262.350.jpg" width="210" /></a></div>The three <em>Chewing Gum </em> pieces, dating from 1975, belong to the latter category. There are each collages of chewing gum pieces attached to sixteen small sheets of paper, arranged in a grid format and framed in a Plexiglas box. Their structure is based on orderly, repetitious forms of folded chewing gum pieces in flesh tones, suggestive of biological replications and divisions. Yet, when in some sculptural works adhered to Wilke's chest, breasts, and abdomen in other works, those chewing gum pieces gain another possible meaning--evoking wounds or body scars.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.feldmangallery.com/media/wilke/wilexh_94/jun15jan30-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="http://www.feldmangallery.com/media/wilke/wilexh_94/jun15jan30-01.jpg" width="320" /></a></div><span class="style1">The naked body as a sculptural form, or as object of art, was Wilke's primary means of expression. In the 1970s and early 1980s, she produced a series of performances, videos, and photographs in which she used her own body to confront the erotic representation of women in art history and popular culture, and to examine issues of sexuality, femininity, and feminism.</span><br />
<div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://evilmonito.com/wp-content/uploads/2009/06/art_184_72.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://evilmonito.com/wp-content/uploads/2009/06/art_184_72.jpg" width="214" /></a></div><span class="style1">For Wilke, feminism was intrinsically more important than art; art with a focus on the body was a way to engage those issues and contribute to the Women's Art Movement. In order to liberate the notion of the female body from a "mother-whore" syndrome (caring-nurturing, and seductive-dangerous figure), Wilke started to employ her own body as an object. She treated it either as a sculptural form on which she would place her chewing gum pieces, or as a living sculpture, acting in performances and videos.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://farm4.static.flickr.com/3537/3634072324_94d2618cae.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="http://farm4.static.flickr.com/3537/3634072324_94d2618cae.jpg" width="320" /></a></div><span class="style1">By doing so, she aimed to provoke the public's critical response and to argue for a self-spoken female eroticism that had not been welcomed in western culture. Moreover, eroticism was for her an open call to see the female body as "the sexy and the self-respecting, the sensuous and the serious" body, rather than just as the sexualized body passively waiting to be satisfied by a man. Thus, it was an act of political freedom in a male-dominated culture. </span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQqR-29RRcYoIKye2rQxWbtlWVOZH1H37xwcKsinMR1WF7bQY5z-_43AxPkpPB3puS1ESFqpSQL6j3nSwMNZ6fBSzVBl8rq781Q_Wzqc5Mti-UOX93jEI-6VEaAEIED2wBKWN7SetJHmY/s1600/hannahwilkesupertart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQqR-29RRcYoIKye2rQxWbtlWVOZH1H37xwcKsinMR1WF7bQY5z-_43AxPkpPB3puS1ESFqpSQL6j3nSwMNZ6fBSzVBl8rq781Q_Wzqc5Mti-UOX93jEI-6VEaAEIED2wBKWN7SetJHmY/s320/hannahwilkesupertart.jpg" width="256" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-80386295146750801472010-12-22T08:34:00.000-08:002010-12-22T08:34:17.886-08:00EVE FOWLER<div class="separator" style="clear: both; text-align: center;"><a href="http://graphics8.nytimes.com/images/2005/06/02/magazine/05sili.2.184.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://graphics8.nytimes.com/images/2005/06/02/magazine/05sili.2.184.jpg" /></a></div>This year, aside from my collaborative projects, I have been making black photographs. The photographs are printed black from 4-by-5 negatives. Although no image can be seen in the print, the content is described in the titles: <i>Woman Waiting</i> (referencing a Faith Wilding piece), <i>Two Friends at Home</i> (referencing a Diane Arbus photograph of lesbians), <i>Woman Leaping, Woman Seated, Naked</i>, and so on. After struggling with representation of people and the problems that it poses for a long time, I decided to continue to make the photographs but to allow the viewer to imagine the content described. Images will only appear in my work now when I am making a collaborative piece, or if the subject is not a person. The first black photograph, <i>Woman Leaping</i>, is of Anna Sew Hoy, who was also the first person I photographed in 2004 for the series of photographs of women I made that year. I have recently collaborated with Anna Sew Hoy and Math Bass, both of whom I have photographed in the past few years. Bass suggested we collaborate in 2007 because she found the role as subject to be a little too passive and thought we should collaborate.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://www.artleak.org/auction2006/images/livelots/Fowler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="http://www.artleak.org/auction2006/images/livelots/Fowler.jpg" width="320" /></a></div>Our collaboration is a document of a sexual performance. These photographs describe an imagined space for queer desire to be directed and complicated by bodies, unable to be read. The hole has been created in context to a policed history of queer sexuality, and in this series the illicit and anonymous environment is being transposed upon queer bodies.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://calcdn.artcat.com/images/exhibits/10940_1266784433.original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://calcdn.artcat.com/images/exhibits/10940_1266784433.original.jpg" width="240" /></a></div>In 2007 Anna Sew Hoy also suggested working collaboratively. We made a series of double exposures which we are still working on, and we made <i>Fist</i>, which is a photograph of Anna’s fist pushing through clay, one of the materials she uses to make her work, creating a power symbol, and a queer sexual innuendo.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://search.it.online.fr/covers/wp-content/eve-fowler-untitled-2005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://search.it.online.fr/covers/wp-content/eve-fowler-untitled-2005.jpg" width="251" /></a></div>In 2008 Lucas Michael (another Los Angeles artist and friend) and I opened Artist Curated Projects in my Los Angeles apartment. It’s a space for our friends who are artists to curate projects. Jeff Ono, Alex Segade, and Pearl Hsuing curated the first three shows. Veronica and Kiki Johnson; Anna Sew Hoy, Erika Vogt, Ellie Murphey, and Rico Gatson; Shannon Ebner and Lecia Dole Recio are curating shows in 2009. Michael and I are curating an ACP project in New York at the art production funds space in SoHo. I consider the inclusion and curation of my artist friends to be an important part of my practice.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://web.me.com/evemfowler/iWeb/www.evefowler.com/portraits_files/Fowler_24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://web.me.com/evemfowler/iWeb/www.evefowler.com/portraits_files/Fowler_24.jpg" width="246" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://web.me.com/evemfowler/iWeb/www.evefowler.com/portraits_files/84780002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="http://web.me.com/evemfowler/iWeb/www.evefowler.com/portraits_files/84780002.jpg" width="320" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-81504357458861347292010-12-22T04:28:00.000-08:002010-12-22T04:28:59.341-08:00ANA LAURA ALÁEZ<div class="separator" style="clear: both; text-align: center;"><a href="http://www.analauraalaez.net/ANA_LAURA_BIO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.analauraalaez.net/ANA_LAURA_BIO.jpg" width="225" /></a></div><div style="color: black;">Ana Laura’s work shows her concerns around questions of space and human scale, as well as her quest for personal identity, in all fields of experience. To this end, she uses a mix of sculpture, drawing, architecture, video, photography and more recently, music.<br />
She is the director of GEOMETRICAL LIFE, a space design studio, in partnership with César Rey and Daniel Holc. Their first, non-ephemeral project, was a shop for jewellery designer Chus Burés in Barcelona in 2004. <br />
Ana Laura offers her voice in GIRLS ON FILM, a music project where she collaborated with electronic music duo SILVANIA. She has also collaborated with musician Ascii.Disko, who writes the soundtracks for her more recent video works.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.nyartsmagazine.com/old_site/images/stories/magazine/2009/Summer/ana%20laura%20alaez.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.nyartsmagazine.com/old_site/images/stories/magazine/2009/Summer/ana%20laura%20alaez.jpg" width="240" /></a></div><br />
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<div style="color: black;">Ana Laura had her own page in the Spanish edition of VOGUE between the years 1999 – 2001.<br />
She regularly writes and designes features for lifestyle magazines such as NEO-2 and B-GUIDED.<br />
Ana Laura’s work was first presented to the greater public in 1992, with her show SUPERFICIE at the Joan Miró Fundation in Barcelona. The show presented three dimensional objects only. In 1996 however, she’d take an enormous conceptual leap when she designed a fashion boutique to present as an art installation at the Sala Montcada de la Caixa, also in Barcelona. In this instalation, she mixed conventional artistic objects, with contemporary consumer goods and even clothes.<br />
In Madrid, she is best known for her instalation DANCE & DISCO of 2000, presented at the Museo Reina Sofía: a real, functional club designed within the art venue Espacio Uno. Its club dynamics, which included actual club nights with professional dj sessions, lived along the more passive, traditional museum activities. Thanks to a literal, bold character that gave no concessions toi the museum’s tradition, DANCE & DISCO attracted a young public that had never been to an art exhibition before. Later in 2001, she’d design three instalations for the Spanish Pavillion at the Venice Biennale. For this project, she transformed the peripheral architecture around the pavillion into three independent spaces that created three different environments. In 2003, she designed her Beauty Cabinet Prototype for the Palais de Tokyo in Paris, where she collaborated with cosmetic giant Shiseido. In the year 2004, Ana Laura would revisit her succesful DANCE & DISCO in a new project, deisgning an architectural project, in the form of an autonomous structure in the shape of a lightning bolt that cut through the Taidemuseo Tennispalatsi of Helsinki.</div><div class="separator" style="clear: both; text-align: center;"><a href="http://www.galeriampa.com/img/programacion/07/Diez-anos/Ana-Laura-Alaez-07-1_big.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="204" src="http://www.galeriampa.com/img/programacion/07/Diez-anos/Ana-Laura-Alaez-07-1_big.jpg" width="320" /></a></div><br />
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<span style="color: #ff0099;"><span style="color: black;">Some of her projects in the year 2005 are:</span><br style="color: black;" /><span style="color: black;"> GOODBYE HORSES, an instalation at the National Museum of Art, Architecture and Design, Oslo. A large scale spiral reminescent of Tatlin’s constructivist Monument Over the Third International.</span><br style="color: black;" /><span style="color: black;"> The cosmetic brand “Coreana” chose Ana Laura’s video SUPERFICIALITY, along with work by Korean artists, for their COSMOS COSMETIC show at SPACE *C in Seul.</span><br style="color: black;" /><span style="color: black;"> Her video-instalation K-STAINS at the Spaniush Embassy in Seul was Ana Laura’s first project with a conventional narrative script. Soon after, she’d present GORGEOUS IS NOT ENOUGH at the Pirelli Space in Milano.</span><br style="color: black;" /><span style="color: black;"> More recently, she has collaborated with British photographer Nick Knight in his online project “Amaze Me”.</span><br style="color: black;" /><span style="color: black;"> Her work on photographic medium took part in the group show EUROPART that took place in Vienna. Work by more than sseventy European artists was exhibited on giant billboards all over the Austrian capital.</span></span><br />
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<div style="color: black;">In 2005 ,the projects are:<br />
A solo show, BLACK METAL - PINK T-SHIRT, at Galería Moisés Pérez de Albéniz in Pamplona (Spain).<br />
A public space project, BAMBI, at Mercado de la Boquería in Barcelona.<br />
In 2006, a installation, ARQUITECTURA DE SONIDO, for the Banco de la República Museum in Bogotá, (Colombia).<br />
Currently, in 2007:<br />
UNKNOWNS. MAPPING CONTEMPORARY BASQUE ART. Guggenheim Museum, Bilbao.<br />
K-STAINS. Casa Asia, Barcelona.<br />
MARIE`S STORY. Space C*, Seoul.<br />
EMPTY SPACES for the LAB PROJECT at Sharjah Museum ,United Arab Emirates.<br />
ART FAIRS WITH VACÌO 9 Gallery, Madrid<br />
MACO Méjico 07. Méjico D.F.<br />
Open Plan. Art Athina 07. Athens<br />
Volta Show 03. Basel </div><div class="separator" style="clear: both; text-align: center;"><a href="http://c1.ac-images.myspacecdn.com/images01/35/l_b02dc1da517fd191bb2791c595d634b8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://c1.ac-images.myspacecdn.com/images01/35/l_b02dc1da517fd191bb2791c595d634b8.jpg" width="318" /></a></div><br />
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</div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-85896008714114401572010-12-21T10:27:00.000-08:002010-12-21T10:27:42.985-08:00HIRANO TAKACI<span style="font-size: x-small;">Born in Tottori, Japan, in 1981, and currently residing in L'viv, Ukraine.</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://hiranotakaci.jp/pic/tottoriukraine/1007/100717-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="http://hiranotakaci.jp/pic/tottoriukraine/1007/100717-6.jpg" width="320" /></a></div><span style="font-size: x-small;">While at high-school, joined a drama club, and spent almost all day for drama. Both playing roles and a director. Though the club advanced High-School National Contest of Drama, not suceeded, and gave it up. However, the concept of his present works was cultivated those days. Graduated from Tokyo University of Foreign Studies in 2004, majoring in Russia and East European Studies. While at university, started photography using Ukrainian camera and lenses, produced many works. Started the series "For You", has been to Ukraine, India, Iran and many countries, taking people. Studying some foreign languages, Ukrainian, Russian, Turkish, and English. It is important for him to communicate with models when taking photos. His works' theme is "Yori hito rashiku, yori sonomama ni", this is, "Be more as human is, more as you are". Proceeded to Masters Program at Tokyo Institute of Technology, retiring halfway to become a photographer in 2005. Moved from Tokyo, Japan, to L'viv, Ukraine in 2008, has taught Japanese language in L'viv university, and taken photos there.</span><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://24.media.tumblr.com/tumblr_ld6i4t0Nt61qe50hoo1_400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="http://24.media.tumblr.com/tumblr_ld6i4t0Nt61qe50hoo1_400.jpg" width="320" /></a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-91279549321708983832010-12-21T09:49:00.000-08:002010-12-22T04:34:55.676-08:00VANESSA BEECROFT<div class="separator" style="clear: both; text-align: center;"><a href="http://images.vogue.it/imgs/galleries/peole-are-talking-about/zoom/001523/vanessa-beecroft-361867_0x745.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="http://images.vogue.it/imgs/galleries/peole-are-talking-about/zoom/001523/vanessa-beecroft-361867_0x745.jpg" width="320" /></a></div><br />
It's art; it's fashion. It's good; it's bad. It's sexist; it's not. It's Vanessa Beecroft's performance art. And one's mind can feel like Faye Dunaway's face in that famous slapping scene in ''Chinatown'' when confronted with it.<br />
Since 1994 Ms. Beecroft, a 29-year-old Italian artist, has become known for pieces involving up to 20 vaguely similar women wearing underwear, high heels (or sneakers), maybe pantyhose or wigs, and not much else. The work has an anthropological logic: the performers and their costumes usually come from the city in which the performance is taking place.<br />
Ms. Beecroft recently staged her first such event in a New York museum, a one-night performance at the uptown Guggenheim produced by Yvonne Force Inc., a curatorial consulting company. It was a circuit-jamming combination of fashion, theater and art; a two-and-a-half-hour spectacle of languorous immobility and reciprocal staring, appropriately titled ''Show.''<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.rachelkward.com/images/beecroft_works_51%5B1%5D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="224" src="http://www.rachelkward.com/images/beecroft_works_51%5B1%5D.jpg" width="320" /></a></div>Speaking for the defense, a budding collector, the actor Leonardo DiCaprio, was overheard to say of the piece, ''This is dope,'' or cool indeed. A few days later, a prominent art historian described ''Show'' as ''the best thing since Gilbert and George performed 'The Singing Sculpture' at Sonnabend Gallery.'' He was referring to the British performance and photo artists and their 1971 appearance in SoHo.<br />
There may not be any easy resolution of the feelings and opinions that Ms. Beecroft's work arouses, and that may be the point; but very little art that holds our attention presents itself neatly packaged. The most that new art can do is occupy the mind in the short run, and Ms. Beecroft's work does this, connecting up to all kinds of contemporary art while reformulating ideas that have been around for three decades.<br />
''Show'' featured 20 tall, gorgeous women, mostly professional models of a certain hauteur, standing in the museum's rotunda in a loosely circular configuration and facing the same direction. Fifteen wore elegant red rhinestone bikinis and matching four-inch spike heels; the others just wore the spikes. This wardrobe was designed by Tom Ford of Gucci; the makeup by Pat McGrath.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://artistbloc.com/wp-content/uploads/2010/11/vanessa-beecroft-vb45900ali-2001.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="211" src="http://artistbloc.com/wp-content/uploads/2010/11/vanessa-beecroft-vb45900ali-2001.jpg" width="320" /></a></div>included light body-makeup and powdered hair that contributed to the walking-mannequin effect.<br />
The women stared into space, aloof and indifferent. Occasionally they stretched, crouched or walked slowly around. The invited audience of about 500, also standing, did much the same, and was often just as stylishly, if more thoroughly, attired. So little was happening that when one model strolled slowly among her colleagues, as through an orchard, it counted as drama.<br />
It soon became clear that, as with an old-fashioned Happening, everything going on around the piece was part of the performance -- the artist herself, prowling among the onlookers in body-hugging black shirt and leggings and Gucci spikes; the photographers, darting about for better angles, and, of course, the audience, its standing, staring mode mirrored by the performers.<br />
Despite its mixed signals, ''Show's'' beauty could not be denied. The performers seemed to match the pale beige walls of the museum's soaring spiral, like 20 Venuses in a conch shell by Botticelli. They were resolute and self-contained, comfortable with their nakedness.<br />
Ms. Beecroft calls them an ''army'' that empowers women and refers to her instructions to them as ''rules.'' She also claims indifference to the presence of men in the audience. ''Men?'' Ms.<br />
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Beecroft said during the performance. ''They can look. I don't mind.'' She said, with a bit of youthful arrogance, that the true beauty of women has never been reflected in art or fashion, implying that she aims for greater accuracy by presenting the real thing in this highly artificialized, structured form.<br />
The first thought that ''Show'' inspires is that Ms. Beecroft's work is so au courant in its aloof sexuality, its ambiguous borrowings from popular culture and its use of real time, real space and real flesh that it would have to be invented if it didn't already exist. (which may also mean that it is a flash in the pan, like the work of so many 80's art stars.) There's a passive-aggressive quality to this work, an unsettling beauty that is common to contemporary artists from Damien Hirst to Elizabeth Peyton.<br />
Ms. Beecroft's efforts also relate to the girl-power approach<br />
to feminism that has all kinds of younger female artists asserting their autonomy by adopting behavior once considered exploitative and demeaning to women. (Consider Ginger Spice, of Spice Girl fame, who is going to pose for a Playboy centerfold.)<br />
In addition to bodies, ''Show'' brought into the open the quick, surreptitious looks with which members of both sexes appraise women, exaggerating the glance to excruciating lengths.<br />
That Ms. Beecroft is a woman is essential to her work. Women are her material but also her surrogates. It is also important that her control of the piece goes only so far. Unlike Yves Klein, who used naked women as human paintbrushes and arranged their paint-covered bodies on canvas, Ms. Beecroft is out of the picture once the performance begins.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://d14j21k36u347g.cloudfront.net/wordpress_core/wp-content/uploads/2009/03/untitled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://d14j21k36u347g.cloudfront.net/wordpress_core/wp-content/uploads/2009/03/untitled.jpg" width="216" /></a></div>Thus ''Show'' was also about disintegration. The women seemed to thaw out, becoming more human as the evening progressed. They sat or lay down on the floor; they exchanged glances and sometimes spoke to one another; the final 20 minutes brought several relatively prolonged chat sessions.<br />
It was like seeing entropy -- that hallowed 70's concept -- applied on a human plane. Ms. Beecroft's work also<br />
conjures up the 70's ideal of site specificity; her works provide sample readings of local notions of class, beauty and taste.<br />
Her first solo show in New York, at Deitch Projects in SoHo in 1996, had a downtown focus: performers wearing demure flesh-colored underwear, pantyhose, strappy heels, short blond wigs and almost no makeup resembled a gang of Cindy Shermans getting ready to suit up for one role or another. For the Venice Biennale last summer, the women were rangy in build, had long hair and wore thongs and Pucci-patterned pantyhose. A ''Hey, sailor'' raunchiness resulted.<br />
A recent Beecroft piece performed at the Institute of Contemporary Art in London involved stockier women, with long blond hair, naked but for high heels and girlish gray sweaters. The sense it gave was of loneliness and tough self-sufficiency.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://farm4.static.flickr.com/3547/3462298070_b7763d73a0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://farm4.static.flickr.com/3547/3462298070_b7763d73a0.jpg" width="214" /></a></div>Things were decidedly tonier in ''Show,'' Ms. Beecroft's most expensive work to date. But it may have been the performance piece that upper Fifth Avenue, or the cliche of that neighborhood, deserved.<br />
''Show,'' which will live on in video and photographs, was Ms. Beecroft's 34th performance in 24 cities in Europe and the United States. That in itself is an interesting statistic.<br />
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</a></div>suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-15020466499069103452010-12-21T09:30:00.000-08:002010-12-21T09:30:38.209-08:00MARINA ABRAMOVIC<div class="separator" style="clear: both; text-align: center;"><a href="http://bartschi.ch/images/exhib/200701/medium/200701-00.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div><br />
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Marina Abramović is one of the most compelling artists of our time. Seductive, fearless and outrageous, she has been redefining what art is for nearly forty years. Using her own body as a vehicle, pushing herself beyond her physical and mental limits, and at times risking her life in the process, Marina creates performances that challenge, shock and move us. Through her and with her, boundaries are crossed, consciousness expanded -- and art as we know it is reborn.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.bartschi.ch/images/work/medium/03391.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="291" src="http://www.bartschi.ch/images/work/medium/03391.jpg" width="320" /></a></div>The feature-length documentary film MARINA follows the artist as she prepares for what may be the most challenging performance of her life -- a new piece that will be the highlight of a major retrospective of her work, taking place this spring at The Museum of Modern Art in New York. To be given a retrospective at one of the world's premiere museums is, for any living artist, the most exhilarating sort of milestone. For Marina, it is far more -- it is the chance to finally silence the question she has been hearing over and over again for four decades: "But why is this art?" At 63, she has lost patience with being branded "alternative." That designation, she says, just gives people license to rip her off. What she wants now is for performance art to be legitimated. She is thinking of her legacy -- and the MOMA show, as she well knows, can secure it once and for all. "It is," she says simply, "the most important [show] of my life."<br />
For the retrospective, Marina will perform an ambitious new work, aptly titled "The Artist is Present." All day, every day, from early March until the end of May, 2010, she will sit at a table in the museum's atrium, in what she describes as a "square of light." Members of the audience will be invited to join her, one at a time, at the opposite end of the table. There will no talking, no touching, no overt communication of any kind. Her objective is to achieve a luminous state of being and then transmit it -- to create what she calls "an energy dialogue" with the audience.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://intermediaireculturel.files.wordpress.com/2010/07/abramovic1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://intermediaireculturel.files.wordpress.com/2010/07/abramovic1.jpg" width="316" /></a></div>The Artist is Present will be the longest-duration solo work of Marina's career, and by far the most physically and emotionally demanding she has ever attempted. When she conceived it, she knew instantly that it was the right piece: because the mere thought of it, she says, "made me nauseous." But she does not allow herself to contemplate failure. "You have to put your whole self in, say something. . . that makes you an artist. Spill your guts. No compromise. Be radical. Invent something new."<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://search.it.online.fr/covers/wp-content/marina-abramovic-action-pants-genital-panic-solomon-r-guggenheim-museum-new-york-november-11-2005.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://search.it.online.fr/covers/wp-content/marina-abramovic-action-pants-genital-panic-solomon-r-guggenheim-museum-new-york-november-11-2005.jpg" width="319" /></a></div>Meanwhile, in the galleries upstairs, 36 young artists from various disciplines will be "re-performing" some of Marina's most famous works, among them: Imponderabilia, in which two performers, both completely nude, stand in a doorway so close together that the public must squeeze between them to pass; and Luminosity, in which a lone artist, also nude, sits on a bicycle seat mounted high on the gallery wall. These are grueling pieces, incredibly taxing to both the body and the mind, and it is vital that the re-performers are prepared.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://idontlikemondays.us/blog/Abramovic_Performance_Art_Lips_of_Thomas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://idontlikemondays.us/blog/Abramovic_Performance_Art_Lips_of_Thomas.jpg" width="264" /></a></div>Several months before the retrospective opens, Marina invites them to a workshop at her home in upstate New York. They sleep outside, bathe in the river, refrain from talking and eating for four full days. There is a strict regimen of individual and group exercises, such as walking backwards in slow motion, counting grains of rice, and observing a single object for hours. The goal is to enable the re-performers to become aware of their limits and to find their own charismatic space. (We edited a trailer from the material captured at the workshop.<br />
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Of course, it is not merely Marina's performances that will be recapitulated at MOMA -- it is also her life. Indeed, the show being mounted in the upstairs galleries is a narrative that tracks not only her development as an artist, but as a woman. And as the various installations are prepared, Marina is brought into a stark confrontation with her own story: with her influences and her passions, with risks taken and fears conquered, with the relationships that have at times defined and nearly consumed her. As she puts it, after a day in the unfinished gallery space: "My entire past life is rushing in on me." We'll explore that past life as she re-experiences it, weaving in and out of the moments and events that have made Marina who she is.<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://www.revue-medias.com/IMG/jpg/marina_abramovic_HR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://www.revue-medias.com/IMG/jpg/marina_abramovic_HR.jpg" width="320" /></a></div>With total access granted by Abramovic and The Museum of Modern Art, MARINA will be a mesmerizing cinematic journey inside the world of radical performance, and an intimate, engaging portrait of a woman who draws no distinction between life and art.suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0tag:blogger.com,1999:blog-188533390220935098.post-2798952320535505142010-12-21T08:56:00.000-08:002010-12-21T08:56:00.646-08:00DAVID LACHAPELLE<div class="separator" style="clear: both; text-align: center;"><a href="http://www.designboom.com/eng/interview/lachapelle/david_lachapelle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.designboom.com/eng/interview/lachapelle/david_lachapelle.jpg" /></a></div><br />
<a href="http://www.designboom.com/eng/interview/lachapelle.html">david lachapelle was born in connecticut, north carolina in 1968.<br />
he studied at the art student's league and north carolina school <br />
of arts. at age of 19, mr. lachapelle went to new york <br />
where he met andy warhol. he began his photography career created by warhol.<br />
david lachapelle is a photographer who tends to create his own visionary world,<br />
rather than reproduce what's visible in the world, a photography style that can be<br />
compared to no one.<br />
david lachapelle has evolved his photography into an idiosyncratic and highly personal<br />
combination of reportage and surrealism.<br />
lachapelle is one of photography's brightest stars, bringing high intensity,<br />
larger than life images to the pages of magazines worldwide<br />
(as i-D, arena, the new york time magazine, rolling stones, vogue, the face,<br />
the london sunday times and vanity fair).</a><br />
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initially distinguished by his campy fixation with white-trash culture,<br />
lachapelle is also known for his groundbreaking use of computer<br />
manipulation and futuristic fashion shoots and for placing hollywood celebrities<br />
-- from madonna, uma thurman, elton john to drew barrymore to<br />
the X-files' david duchovny -- <br />
in wildly imaginative and often compromising erotically charged settings.<br />
la chapelle's monstrosities are that breed of gaunt, blemishless human built <br />
and enslaved by heavy makeup, lighting and the glorifying voodoo of photographic<br />
attention, e.g., models, transsexuals and ... leonardo di caprio.<br />
it is a prophecy of even scurvier spiritual illness yet to come from our<br />
media-centric society, in the not-so-distant future.<br />
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in the last years he also created music videos: the station promo he <br />
directed for MTV, which recast a scene from the tragi-camp classic<br />
'whatever happened to baby jane with an aging courtney love and madonna; <br />
the 'natural blues' video for moby...<br />
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recipient of the 1997 international center of photography's infinity award<br />
and the 1996 VH1 fashion award for photographer of the year, <br />
la chapelle creates images that are cultural cues as well as advertising campaigns<br />
for such prestigious accounts as estee lauder, prescriptives, volvo, levis, diesel jeans. <br />
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his first book 'lachapelle land,' was published<br />
by callaway editions / simon & shuster in november 1996.<br />
in 1999 followed his second book 'hotel lachapelle'.suedoishttp://www.blogger.com/profile/07941004169219577826noreply@blogger.com0