woensdag 29 september 2010

Obscene Interiors by Justin Jorgensen Photography



Obscene Interiors is a collection of real online male personal ad photos and my critique of the decorating found within.

(No need to shield your timid eyes, the often-nude figures have been laboriously obscured.)

This is the online edition, Obscene Interiors is a book too with way more, and totally different pictures: Obscene Interiors: Hardcore Amateur Decor, with a foreword by Todd Oldham. Need 

Christmas gifts? It's only $12.

Dirty pillow talk: Justin Jorgensen's Obscene Interiors explores what's really disgusting about Web porn--people's furniture.


Justin Jorgensen has never dated, hooked up with, or even met any of the 56 men depicted in his new book, Obscene Interiors, but that doesn't mean he doesn't have feelings for them. "I ended up sort of falling in love with the guys," admits the Fargo, N.D., native, who works as a freelance designer for entertainment ventures in <Los Angeles. "I began to see men in general as this big group of bumbling fellows who just can't seem to ever get it fight."

By "it," Jorgensen means home decor, for Obscene Interiors is not about what men do in their bedrooms; it's about how they deck them out. The author pulled the book's images from male personal ads he found on the Web--some from gay sites, some not. Then, after Photoshop-ing away the subjects' identities, he would pen 
affectionately biting commentary about their decorating to go with each picture, like "That couch would look totally great if it was on fire being thrown from a bridge" and "Something wicker this way comes."

"I didn't want it to just be negative and constantly say 'Oh, my God, look at how awful that is!'" says Jorgensen, who began posting the interiors on his Web site, JustinSpace.com, in 1999. "Please--my home doesn't look any better. It's a huge mess."

While Interiors--with its mix of 
humor and voyeurism--could turn out to be the gag gift of the year, Jorgensen hopes that readers see there's more going on than just cheap shots at cheap furnishings. "I've spent a great deal of time thinking about what it means to decorate as a man," says the author, who's working to turn Interiors into a TV show. "What's so interesting to me is this constant conflict in men between what's masculine and how you decorate. How do you fill your room as a man and still be a man?"

Well, judging by the shots in Interiors, you keep your plants around even if they're dead. "What really 
amazed me is seeing how different men from around the world would do the same ridiculous things," says Jorgensen with a laugh, "like putting their dying plants up on big pedestals or using cardboard boxes as end tables. Or they'd make everything symmetrical, thinking, If it's symmetrical, it looks prettier."

Speaking of pretty, some of the 
presumably available gents featured look pretty hot, even in silhouette. "We made a conscious decision to not show any penis silhouettes, but people still think they see them," says Jorgensen. "They'll say, 'I saw your book with all the schlongs hanging out.' I'm like, 'There's no schlongs.'"

There are, however, a lot of men out there who have no problem telling the world that they use their stereo speakers as shelves. "I'm really conflicted about the speakers-as-shelves thing," he admits. "Can it really be that bad if everyone's doing it?"




Fresh flowers, even just one, make all the difference. But throw it out once they wilt. Don't be like those maudlin teens who decorate their rooms in Phantom of the Opera posters and drama awards and pin each dead rose around their vanity like it's the last one they'll ever get.


Speakers are not shelves or pedestals. They're just speakers. Let them be. Don't try softening them with garage sale arrangements.




FYI: If you fill your couches with too many pillows your guests will end up sitting on the floor.


See also Meetingplaces Amsterdam 1991 from Bart Sorgedrager ...

dinsdag 28 september 2010

La Brea Ave Los Angeles California Street Art Photography & Hot Dogs Seizer Stephen Shore Pinks

Street Art by Seizer on La Brea Ave in Los Angeles Cali






Stephen Shore's La Brea - An Image That Changed Photography


Forty years ago Stephen Shore created the image below on the corner of Beverly Boulevard and La Brea Avenue in Los Angeles. Almost immediatley this image along with dozens more from Shore's collection, began reshaping people's perception of the American landscape. It has been included in dozens of text books, lectures and surveys of photography.



Shore was a pioneer of color photography and along side William Eggleston, their work helped to legitimized color photography in the art world. When Shore was only 23, he became the first living photographer to have a solo show at the Metropolitan Museum of Artin New York City. Shore's images have been a major influence to many well known American photographers including Nan Goldin and Joel Sternfeld. His images, thanks to the help of Bernd and Hilla Becher, even influenced many German photographers includingThomas Struth and Andreas Gursky.
See also American Pioneers of Color Stephen Shore, Joel Meyerowitz, William Eggleston ...
Today, La Brea is the conceptual core behind the La Brea Matrix Project, hosted bySchaden.com, Cologne and The Lapis Press, Culver City. In responce to La Brea, LBMP hosted an artist-in-residence program here in Los Angeles in 2009 and 2010. A collection of six German art photographers were invited to "come search for photographic points of reference to this iconic picture". The end result, a limited eddition portfolio of the artists work created while in Los Angeles and later, an exhibition.
The La Brea Matrix photographers include: 
Jens Liebchen (Berlin, born in 1970)
Max Regenberg (Cologne, born in 1951)
Oliver Sieber (Düsseldorf, born in 1966)
Olaf Unverzart (Munich, born in 1972)
Robert Voit (Munich, born in 1969) and
Janko Woltersmann (Hanover, born in 1967).




zondag 26 september 2010

FOTOBUCHTAGE 2010: Andrew Phelps Rob Hornstra Peter Bialobrzeski Photography




Artists of "FOTOBUCHTAGE 2010": Andrew Phelps, Rob Hornstra, Andreas Mühe, Andreas Magdanz, Peter Bialobrzeski, Kolkata Heritage Photo Project, Volker Gerling, Esther Haase, Ulrich Mack, Michael Schnabel, Michael Wolf, Cécile Fontaine, Len Lye, Renate Aller, Kirill Golovchenko, Andreas Herzau, Jörg Koopmann, Susan Paufler, Alexander Gnädinger, Bernd Uhde. The GUDBERG magazine is a forum for artists all over the world and an art project that any fan of art and design would be well advised to collect. This printed stroll through the globe's most exciting art scenes is produced in cooperation with leading international galleries. The current issue is available for free - in a limited run of 2000 copies - in selected museums and shops. All editions can be ordered from the publisher online.

vrijdag 24 september 2010

Transformations Through Light Portraits by Helmar Lerski Photography

(Aus dem Werk) “From The Factory”, 1936

Transformations Through Light – Photos by Helmar Lerski


There’s an interesting reference resource for all you CGI modellers and lighting artists looking for new ways to build on the standard three lamps setup. Take some time to study an exhibition of eighty-eight photographs by Helmar Lerski (1871–1956) currently showing at the Ubu Gallery in New York and running until the 25th of June, 2010.
The show is called “Transformations Through Light”, and it demonstrates Lerski’s skill at moulding his model’s features into dramatic volumes; a skill he learned and practiced as a cinematographer in the avant-garde German cinema of the nineteen twenties and thirties.
His compositions lent an air of grandeur to all of his subjects, even though many of them were beggars, labourers, and people found in dole (welfare) queues.
Lerski was involved concurrently in the two major, emergent mediums of his time: film and photography. Born in Alsace in the then German city of Strausburg, he became involved in the theater and, in 1896, moved to New York to pursue a career in acting, eventually working at the Irving Place Theater and later the German Pabst Theater. It was in this setting that Lerski first became aware of the unique visual effects achievable with stage lighting. Drawing from his acting experience, he began investigating photography as an artistic medium after meeting his wife, also a photographer. While photographing their colleagues, Lerski experimented with a series of portraits that severely manipulated the lighting effects. The resulting images formed a base for his later success in both commercial and art photography.
(Verwandlungen des Lichts) “Untitled” 1936
(Yemenititischer Knabe) “Yemenite Boy” 1933.
(Hände eines Landarbeiters) “Farm labourer’s hands” 1944
(Die Hausangestellte) “The Housekeeper” 1929
This body of work upholds the artist’s declaration that “in every human being there is everything; the question is only what the light falls on.”
Among Lerski’s many models was a young Francis Bacon, who had a dramatic studio portrait taken by Helmar Lerski, “a Swiss photographer and cinematographer”. Bacon was later to tell Stephen Spender that he had been very impressed by the work of the photographer who had produced striking effects using mirrors and natural light filtered through screens, but that he could not remember the artist’s name.” (Surprise!)
Not all of Lerski’s subjects were portrayed in this stark dramatic style, he made some dreamy portraits of a fellow film maker Leni Riefenstahl, who incidentally lived to the ripe old age of 101.



donderdag 23 september 2010

New Commercials Ben Phone Company KesselsKramers Video Photography



DESIGNTALKS - Lecture - ERIK KESSELS, KESSELSKRAMER from SPD video on Vimeo.

Erik Kessels, cofounder and creative director of Kessels Kramer, presents the work of the Dutch advertising agency based in Amsterdam and London.


With its radical and often provocative approach, Kessels Kramer has already left a strong mark on contemporary advertising communication. 


During the lecture Erik presents the famous series of commercials for the Dutch mobile phone company Ben: short, witty, sometimes hilarious spots telling little stories in a very fresh and simple way. Among his favourite works, Kessels also introduces the award winning campaign for the Hans Brinker budget hotel: the Amsterdam hotel promoted itself with unconventional slogans like "Now even more dogshit in the main entrance!" thus attracting a huge number of visitors.


Erik Kessels is a photography collector and has curated photography books such as the series “In almost every picture” based on materials he found apparently by chance during his personal researches. 


The lecture ends with the presentation of the experimental, selfproduced project The Other Final: an event and award-winning documentary showing a football game between the world’s two lowest-ranked teams which was played on the same day as the 2002 World Cup Final.



Ben Statue tag on from KesselsKramer on Vimeo.


Ben Line Dance tag on from KesselsKramer on Vimeo.


Ben Khalid tag on from KesselsKramer on Vimeo.



dinsdag 21 september 2010

Dutch Artists of the 125 YouTube Videos Shortlisted for Guggenheim's YouTube Play

  

YouTube Play. A Biennial of Creative Video Kiosk, Solomon R. Guggenheim Museum, New York, NY. Photo: Kristopher McKay © The Solomon R. Guggenheim Foundation, New York, 2010.

By: Jake Coyle, AP Entertainment Writer
NEW YORK (AP).- Among the hundreds of thousands of videos uploaded daily to YouTube, surely a work of art is in there somewhere.

Such is the premise behind "YouTube Play: A Biennial of Creative Video," the first curated search for videos of a higher brow on the popular Google Inc.-owned website. From among more than 23,000 submissions from 91 countries, 125 videos were shortlisted for the inaugural biennial.

A curatorial team from the Solomon R. Guggenheim Museum in New York selected the videos, which will play at kiosks in Guggenheim museums in New York; Berlin; Bilbao, Spain, and Venice, Italy, beginning Monday.

A jury that includes filmmaker Darren Aronofsky and visual artist Takashi Murakami will whittle the results down further to about 20 videos. Those will be presented at the Guggenheim in New York on Oct. 21.

"It's become increasingly obvious that this kind of creative video is completely core to YouTube," said Anna Bateson, director of marketing for YouTube. "It's a fundamental part of what the site is doing, and yet it wasn't really being celebrated."

The chosen videos vary wildly, from well-known YouTube hits to little-seen works by students and amateurs.

More familiar selections include the OK Go music video "This Too Shall Pass," which features a Rube Goldberg apparatus, a complicated machine designed to perform a simple task, and the "Human Mirror" video, in which a subway car is lined by apparent twins mimicking each other's movements, by the comedy troupe Improv Everywhere.

Others are less heralded, like a jogging video by multimedia performer Jillian Mayer, in which rural video is projected against the urban landscape along her path.

Many videos utilize various forms of animation, particularly stop-motion animation. Joe Penna, known to most as MysteryGuitarMan, pieces together a classical guitar piece one shot — and one note — at a time.

Joan Young, associated curator of contemporary art at the Guggenheim, said the selected videos show the breadth of the materials on YouTube.

"We focused on works that really were conceived from the start for an online medium, so not necessarily works that were to be projected in a museum space or works that simply documented a performance," she said. "The idea really is working with the medium."

The videos are assembled at http://www.youtube.com/play






Noteboek by Evelien Lohbeck (evelienlohbeck)
Freelance artist Evelien Lohbeck’s paper notebook works like a laptop computer. And on the screen you see her YouTube films, and discover that the notebook is also a toaster and a make-up mirror.



Walter is an animated puppet who appears in stop-motion films. His maker wants to make him understand he has no power over his own existence.




Cardboard by Sjors Vervoort (svervoor)
Cardboard creatures turn up all over the city. The insects are the creation of character designer and animator Sjors Vervoort.


Revenge by Lernert Engelberts (lernertE)
And egg waits for a champagne cork to pop. The film by writer and director Lernert Engelberts (1977) is called 'Revenge'. The pop means the end for both the champagne and the egg.



The result of 40 years of consistently taking passport photos, by Harry de Dood’ 1960-2002. The baby Harry changes into a toddler, a little boy, and so on. One photo flows into another. In less than three minutes, we see more than 30 years of life flash by.



Why Do Things Get in a Muddle by Jean-Baptiste Maitre (jeanbaptistem)
The French photographer Jean-Baptiste Maitre (1978) made ‘Why do things get in a muddle’. This question gradually unfolds on the screen in letters made up of fluorescent tubes. Maitre trained in France and the Netherlands and is currently a resident artist at the Rijksakademie van Beeldende Kunsten in Amsterdam.

maandag 20 september 2010

Beyond Color: Color in American Photography, 1950-1970 Harry Calahan Marvin E. Newman Ruth Orkin Ernst Haas


Beyond Color: Color in American Photography, 1950-1970

Bruce Silverstein Gallery is pleased to present, Beyond COLOR: Color in American Photography, 1950-1970, a re-examination of a pivotal period in photography’s short history, when the artistic relevance of color in fine art photography had yet to be determined. The exhibition unites works for the first time by many of the “first generation” practitioners of color photography including artists Marie Cosindas, Arthur Siegel, Harry Callahan, Eliot Porter, Saul Leiter, Marvin E. Newman, Pete Turner, Ruth Orkin and Ernst Haas. Other highlights include images exhibited for the first time by Magnum’s first female member, Inge Morath, as well as a special slide projection of color images by Garry Winogrand, images that were never printed by the artist. Beyond COLOR attempts to reclaim this moment of photographic history that only today has begun to receive critical attention.

After the conclusion of World War II, innovations in technology combined with the public’s desire to “see the world as it is” resulted in an explosion in the usage of color imagery by the mass media. By 1951, commercial color television broadcasting had begun, and in 1954, half of all American films were made in color. In the early 1960’s color imagery was so prevalent that National Geographic magazine introduced a new era when it became the first major American periodical to print an all-color issue. While color photography during this period was widely embraced by mass culture—advertising and journalism-- it continued to suffer from second-class status in the fine art world when compared with images in black & white. For most in the fine art establishment, black & white photography represented the medium of choice, steeped in a century-old tradition it was easily accessible and affordable to artists, and possessed known archival stability. For this reason, few artists chose to work in color and even fewer produced finished prints. Although color works had begun to selectively appear in museum exhibitions, most notably at the Museum of Modern Art, where single artist exhibitions of works by Eliot Porter (1943), Ernst Haas (1962) and Marie Cosindas (1966) were displayed, academic and institutional attention and support for this new technology was scant.

Over the past forty years, work in color created by artists during this formative period has received little attention. Most critical analysis through writings and exhibitions have focused on color work created during the 1970’s and 1980’s after the now famous Museum of Modern Art exhibition, Photographs by William Eggleston (1976), curated by John Szarkowski. This MoMA exhibition set the groundwork for defining a new purpose for color photography – one that focused more on the conceptual implications of the photograph and its creation, and away from the formalistic attributes of the image as well as the attention to color itself. The effects of Eggleston’s exhibition and Szarkowski’s essay reverberate to this day.

With a certain distance from this era when color photography was new-- its place in the art world no longer a question--this exhibition offers a crucial consideration of works created during this period and encourages a new perspective on the significance of these artists’ contributions to the history of photography.

See also COLOUR BEFORE COLOR by  Martin Parr ...










zondag 19 september 2010

"The Tireless Epic" Fieret - Tichý - Heyboer Exhibition Photography

"The Tireless Epic"

2 October 2010 - 9 January 2011
Their personal universe and love of women were the starting points for an incessant stream of images showing the world as they saw it. All three were trained artists but entirely self-taught as photographers. This autumn, the Hague Museum of Photography is showing the work of a trio of eccentrics regarded by the photographic world as ‘outsiders’: Dutchmen Gerard Petrus Fieret and Anton Heyboer plus Czech artist Miroslav Tichý. The three are linked not only by their chosen themes, but also by an obstinately idiosyncratic way of life. This exhibition brings their highly singular worlds together. Its title, The Tireless Epic, comes from a poem written by Fieret. 


Gerard Petrus Fieret (1924-2009) studied drawing and painting at the Royal Academy of Art (KABK) in The Hague immediately before and after the Second World War. From the mid-60s through to about 1980, however, he devoted his energies mainly to photography, a medium that enabled him to show off all his creative talents. Over that period he produced a constant and well-nigh obsessive stream of black and white photographs. He snapped whatever he saw around him: himself, girls, children, animals and street scenes. And women, lots of women. He photographed them during casual encounters, frequently catching them in uninhibited, intimate poses which give the pictures a slightly voyeuristic feel.










Gerard Fieret Boundless Shoreless Unlimited Photography | Promote Your Page Too


The work of 
Miroslav Tichý (b. 1926) is regarded as one of the most interesting photographic discoveries of the last decade. In the brave new world of digital photography, Tichý’s mysterious oeuvre – consisting of blurred photographs of women taken at a distance, sometimes surreptitiously, using ramshackle home-made cameras – is regarded as the last, magnificent death throe of the age of analogue photography, which dated right back to 1839. Although Tichý has not set foot outside his home town of Kyjov (Moravia) for the last half century, recent years have seen major retrospectives of his work at the Centre Pompidou in Paris and the ICP in New York. 









Anton Heyboer (1924-2005) is better known for his paintings and unconventional commune-based lifestyle than for his photography. Following the horrors of the Second World War, he resolved to turn his back on society. He established a commune, where he lived entirely according to his own rules, achieving a highly productive artistic life with the support of his four ‘wives’. This exhibition focuses on the black and white photographs taken by Heyboer in the 1970s to document his day-to-day life at the commune in Den Ilp, where he lived until his dying day.



The exhibition will include photographs, negatives, cameras and sculptures, as well as continuous showings of three documentary films: 
Photo & Copyright by G.P. Fieret (Frank van den Engel, 2009),Miroslav Tichý: Tarzan Retired (Roman Buxbaum, 2008) and Anton Heyboer: in kleur bij God thuis (Frank Wiering, 1974).