In this regard, the artists are looking for the history of pre-digital photography process,photo prints the testing of a new interest. Their recovery and decomposition simulation materials to promote their unconscious and direction in undeveloped and tap new meanings of old snapshots. While this work is unabashedly rooted in the body, it will prompt the central issue often is the concept: What is today's photography?
Recent gallery exhibitions, such as "unique" in the Von Lintel Gallery and "Alchemy" Steven Kasher Gallery, and museum exhibitions, such as "surface tension" in the Center of Photography in Woodstock, New York, 2012, and "What is the duration to 5 May 4, in photography international Center of Photography in New York? ", is trying to make sense of the increasingly strong interest in the material. Carol Squiers, the ICP-planning program, said she wanted to explore, "it could mean the end of the analog era in photography and the digital age completely take over."
What Squiers found an aesthetic anarchist revolt in which artists use their material requirements. Her program is in the directory "figures seem to victory, the more it seems a departure from the artist." Use, from C- print to tintypes, they break photography down "to its technology layer, and then recast it in the physical world importance. "
Brea Souders film's demise is the series theme "electric film." She shot his own film and prints, she has been cut into small pieces of debris. Souders beginning of this project, while cleaning up her files, prepare a trick. "I'm cutting disc, so no one will take them from the waste bin," she recalls. Also in the trash acetate negative sleeve for a protective film long plastic envelope. When she pulled it from the trash,cheap canvas prints the sliver is still attached to the plastic, electrostatic hold.
Brea Souders, and the 24th, 2013, from her series of "electric film." Prints and movie clips cut from her own photo archive, the display memory scattershot form. © BREA Souders of
Brea Souders, and the 24th, 2013, from her series of "electric film." Prints and movie clips cut from her own photo archive, the display memory scattershot form.
© BREA Souders of
"Some of the decline and others of them stuck, I just thought it was really pretty, my memories are clinging together in a way which is a metaphor for the movie trying to hold, literally," Souders said. She shot arrangement of these works pale background of a poetic form of ventilation. And the contact piece cut from the film, each fragment is identifiable, at least to her. Pointing membrane fragments, "this is Belize, I can say that the shape of the palm trees," she said in her Brooklyn apartment, said in a sunny studio. "I think we all experience memory in a similar way, with little bits and pieces of things that collision fragments in unexpected ways and we all remember things fragment."
Souders, and who recently completed a live camera clubs in New York, where she will have an exhibition opening on February 20, to continue with her Hasselblad occasional shot to make new materials projects. She shot mostly digital. However, she also admitted,canvas prints
"I really miss the movie."
Large Framed Prints Brendan Fowler also binding fragments from his past, but more violent. Hanging on the wall, his big chimney, framed inkjet print crashes over the other, leaving shredded paper and broken glass, one of the images to penetrate others. Photo itself is deliberately casual, they show friends and messy studio, but a lot of symbolism, including photographic or digital culture. In the summer of 2010 (the computer 20 "Slingerland drums, accident / wood fell on my studio this May 20, 2010 # 5" poster dialogue with the band AIDS Wolf "picture studio, Patty gazebo flower 2 ), 2010, in the photo above shows the running Photoshop computer monitor, resting on drums. other works depict a stack of photo luminescent screen or a cell phone. this series of products, including modern art, "new Photography 2013" exhibition the museum is a narrative mix, but it also emphasizes the photos, the quality of the physical impossible, fragile nature of pure digital images.
Brendan Fowler, 2010 Summer (computer 20 "Slingerland drums, accident / The wood fell on my studio # 5 May 20, 2010" poster dialogue with the band AIDS Wolf "picture studio, flowers Patti gazebo 2) 2010 © BRENDAN Fowler / collection Joshua Adler in New York
Brendan Fowler, 2010 Summer (computer 20 "Slingerland drums, accident / The wood fell on my studio # 5 May 20, 2010" poster dialogue with the band AIDS Wolf "picture studio, flowers Patti gazebo 2) 2010.
© BRENDAN Fowler / collection Joshua Adler in New York
Matthew Brandt also undermined his picture in the process of creating them. For his series of "lakes and reservoirs," Brandt traveled throughout the West and to collect samples of water, he photographed the corpse. Early in his Los Angeles studio, he drowned a lot of C- printed on paper until they depict decomposed into colorful rainbow as its layer dissolves in water. In Wilma Lake CA1,2008 years, the edge has been eroded rocky landscape of water, the sky has become magenta, red and yellow hills.
"Only so much control, you can leave the water," Brandt, who is still learning what happens in the process said. "If I soak them longer, I know it will be broken down into yellow or white layer.canvas art Ago if I take it out, it may be red layer. Has many nuances."
For Brandt, the work is connected to the history of 19th century photography who recorded the West, such as Timothy O'Sullivan. He also cited the reduction of water supply, and by extension, the disappearance of photo technology. "Sometimes, I revisit a lake, and in summer the water is almost gone and I like to capture these moments, is a witness to the drowning line, and then consider the process of this matter dwindling C- printed," Bo Rand said. "Soon, I will not be able to do this and it is definitely more difficult to get the documents."
And Brent print out his own bath, before they are completely disintegrated, in Tommy's family image "cache, active" disappeared, almost as long as they show, they need to see through light damage. Had left undecided expired silver paper, portrait, landscape photos and faded into the shadows of a weird brown at the opening of the exhibition in 2012 in Los Angeles, instead of referencing the historical process of the process, often seen working in response to the Internet era. Unlike transmitted across space, and in a number of different locations digital images, prints must personally view and quickly.
For John CYR, analog photography disappear tool is his theme. Since 2010, he has been using a black-and-white photographers shooting from 亚伦西斯金德 Sally Man Aidi Adams (image of a book published next month by the crack) developed tray. Some scrubbed clean, while the other is dyed black and silver salts, reflecting their users' habits, living and dead. Basin curved edges, making a black background, to plastic and metal pallets a huge funeral air.
Anne Collier also uses the image of the developer tray high line in her 2012 photos installed in New York. From the elevated billboard overlooking the park, the artist's eyes staring at the fluid-filled tray. Mixed with anxiety or sadness a look, gaze over its audience through a disappearing. Where CYR consider myself a photographer, Collier methods in the art world needs a broader goal.
Mark Brewer's work may have started his photographic education strict reaction, rather than the digital method, but, he said, "For me, the most interesting part is the friction material used without authorized way to interact. "his great interest in learning in the late 1980s and early 1990s in his native Germany after challenge photo material limitations photography, when digital photography is just a rumor, he said. At the time, technically accurate Becher school ("You know, round brush and Gurskys" Bernd and of -students in Kunst- AKADEMIE Dusseldorf), is the de facto official photography German School .
"I think there must be work another way," Brewer said, he determined that he had been taught to forget the rules. If he pressed paper between his teeth, for example, or exposed to the flame will happen?
"I object placed in a dark room, black and white paper, and then I put them on the fire, so the object will illuminate yourself," said the artist, from his studio in Hudson, New York. The next logical step is to remove the object completely. "If it's just me and the paper, how can I extract the image of this material? Then I got into the grinding and scratching scraping and heating, all these other forces."
Brewer found the simplest material from the beginning, "you can carve out their own space, may still be found." Since then, he continued with the basic elements of photography work, making light images, or direct damage to the paper to create beautiful, rigorous abstraction, which he shows Yossi Milo Gallery in New York (where Brandt and Rossiter also shown).
Since 1990, Brewer also collect snapshots, love him with some of the artists. His favorite are those that have changed since some dissatisfaction. "People go in, write on the photo, or a person cut out," he said. You are interested in is taken with the object of his "freedom. Once you start taking the scissors, you have to deal with how curly hair, how you want to paste down. This is the kind of its material aspects." acrylic glass prints
Garrett Pruter, Untitled 3,2013 years Pruter emulsion painting he did scrape and family snapshots in line to buy copies of his collection. On this page: © Garrett PRUTER / Courtesy JUDITH Charles Gallery, New York; contrary: © MARCO BREUER / Courtesy Yossi MILO Gallery, New York
Garrett Pruter, Untitled 3,2013 years Pruter emulsion painting he did scrape and family snapshots in line to buy copies of his collection.
© Garrett PRUTER / Courtesy JUDITH Charles Gallery, New York
For part of the Garrett Pruter, old photos of attractive, other private access to their past given. For a recent project, he bought a box of slides depicting family life in Indiana on eBay. "It is very strange to have access to these memories," he said. "It almost feels unnatural, because this is not our way of life." His show last Charles Bank Gallery (now Zhu Charles Gallery) was incorporated in New York image forms. For him, the old family photos provide a record, will be lost with the digital switch. "It's almost like experiencing someone else's hard drive," Pruter said.
In his performance of the work is a series of melancholy monochrome painting pink and muted earth tones, light emulsion made from scratch. From 2000 slide, Pruter selected a few, and made a copy of the studio about 20,000 pharmacies. He collected the bowl emulsion, so that the average of a physical each image. "For each image, you basically have different planes of color emerge and some painting is a single image," he said, while some combination of processing each photo as a brush. The results "almost become the company from all those thousands of images of the monument," Pruter said. From each of the original Indiana slide "It represents the complete collapse of this moment," while at the same time, "inject new vitality into it."...Personalised Streched Canvas Prints Sydney
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