Shared posts

18 May 08:21

The real thing, Jake Inez

17 May 07:45

Brooklyn, PPGNY

16 May 09:31

Your moment of Zen, Takahashi Hiroaki

16 May 09:30

Hello darkness, Paul Cupido

13 May 08:40

Et tu, Brute? Clemens Gritl

12 May 07:44

Portals, Kirkland Bray (because)

11 May 08:36

Into the woods, Jasper Goodall

11 May 08:36

Oh, sorry… Kenny Holston

10 May 13:03

Bizarre Installations and Figurative Sculptures by Mark Jenkins Upend Notions of Reality

by Grace Ebert

All images © Mark Jenkins, shared with permission

“I think my art is at its best when it’s subconscious-driven,” says Mark Jenkins. Veering from the witty and absurd to the disorienting and bizarre, Jenkins’ body of work confronts perceptions of reality through the surreal: a life-sized figure climbs a fire escape upside down, limp legs hang from a dumpster, and toast springs up from a sewer grate.

Whether installed in alleys and urban areas or within the stark, white space of a gallery, Jenkins’ sculptures are theatrical and logic-defying, and each piece mimics “life to the point where it becomes real, to me,” he shares. “Creating an alternative reality has been the solution for my mental health. I find reality a bit depressing with death and all, politics, war, celebrities, etc., and that all the stars are so far away we can never really get to know the universe.”

Jenkins is currently working in Los Angeles and soon headed to Le Havre, France, for his next project. You can follow his practice and explore an expansive archive of his sculptures on his site and Instagram.

 

10 May 13:03

Wooden Characters with Lanky, Curved Bodies by Tach Pollard Are Rooted in Myth and Lore

by Grace Ebert

All images courtesy of Tach Pollard

Oxford-based artist Tach Pollard (previously) allows the sinuous shapes of hawthorn or oak branches to guide the forms of his fantastical figures. The lanky creatures stand on long limbs with hunched shoulders and bowed backs, features determined by the original curve of the wood. Based on legends like the Norse Eddas, The Mabinogion, and the Icelandic Sagas, the sculptures are mysterious and minimal—Pollard tends to leave the natural color and grain of the material intact for their faces and burns the remainder to obtain the deep, black char that envelops their figures. You can shop available pieces on Etsy, and follow the artist on Instagram to stay up-to-date on future releases.

 

10 May 13:02

Vibrant Textiles and Repurposed Eyewear Camouflage the Subjects of Thandiwe Muriu’s Celebratory Portraiture

by Grace Ebert

All images © Thandiwe Muriu, shared with permission

From chunky hair beads and rollers to sink strainers and brake pedals, Nairobi-based photographer Thandiwe Muriu (previously) finds fashionable use for ordinary objects. Worn as glasses that obscure a subject’s identity, the repurposed items add cultural flair to Muriu’s vibrant portraits and are connected to both her background and Kenyan life, more broadly. Red fringe evokes the tassel that hung from her uncle’s Toyota Corolla, which transported the artist home from school each day, while the orange plastic drain catcher references the joy found in sharing chores. She explains:

In Kenya, when a group of friends meet, the women usually gather in the kitchen to clean up after the meal is done, and as is part of Kenyan culture, wash the piles of dishes by hand. This routine task suddenly becomes a moment of laughter and stories as the women mingle and bonds are reinforced…(The portrait) celebrates the African spirit of community as it turns humble sink strainers into bright circles of joy.

Shot against bold fabric backdrops printed with dizzying patterns, Muriu’s works conceal her subjects’ bodies under perfectly aligned garments, leaving only their heads and hands visible. The photographs are part of her ongoing CAMO series, which explores how culture both creates and consumes individual identities. Incorporating rich color palettes and traditional architectural hairstyles, Muriu celebrates her African heritage while questioning beauty standards and self-perception.

Some of the photographer’s portraits are on view this month at Photo London 2022 and at 1-54 Fair in New York. In July, she’ll have a solo show with 193 Gallery at the new Maison Kitsuné Gallery in New York, as well. You can explore the full CAMO series on her site and Instagram.

 

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

Image © Thandiwe Muriu

10 May 13:02

Ashes to ashes, Leah Kennedy

06 May 12:13

A camera from a different era: Graflex RB Series B

by hannahgross

My Graflex RB series B is an inspiring and challenging camera. It promises great results but doesn't give them easily.

Black and white photo of a camera

Graflex RB Series B

A lesser-known Graflex

Graflex is an American camera manufacturer well known for its 4x5” press cameras, such as the Graflex Speed Graphic. Those are large-format range-finder cameras that were popular in the 40s and 50s. This Graflex, on the other hand, is an earlier single-lens reflex camera and one from which Victor Hasselblad drew his inspiration. My Graflex RB Series B camera shoots 6x9 sheet film and 120 medium format film with roll film backs. The letters RB in the name refer to “Rotating Back”, and I can take portrait and landscape pictures by rotating the film back.

Black and white portrait of an old man Black and white landscape photo of a path

Six speeds of the curtain

Like the one in a more common Speed Graphic camera, the in-build curtain shutter has two adjustments. With one, you can choose four different slit sizes, apertures in the curtain, and with the other, you can select one of the six speeds of the curtain. The combination of these two, opening size and speed, defines the exposure time. Also, you need to set the speed again after every picture. Not the most simple but extremely elegant solution. A beautiful number array attached to the side of the camera shows the combination of the speed and opening and the exposure times used.

Black and white photo of a camera with aperture

Speeds from 1/10s to 1/1000s

Funny-looking chimney

You look into a funny-looking chimney with a focusing glass at its bottom to compose. Focusing is similar to a TLR camera with a mirrored image at sight. It is surprisingly easy to learn and soon becomes second nature. The Graflex RB Series B has no interchangeable lens boards, unlike its bigger cousins. You can screw the lens on and off, but the screw mount is not any well-known standard. You, therefore, cannot easily find lenses for this camera. I only have a Kodax Anastigmat F4.5, 5 1/2 inch lens, probably the most common lens found in these cameras.

Black and white street photograph of a person walking

March. Shot on Ilford HP5+ film freelensing hand-held and tilt-shifting with the original Graflex lens, developed in Rodinal.

Using a Graflex

This camera is clearly from a different era, and it oozes character. But it is also very demanding. It has no assisting automation, and it won’t prevent errors. It doesn’t measure light, move its mirror up automatically, move the film forward – well, it doesn’t even remind you about such things. It lets you do anything you want, even make mistakes.

Black and white still life photography of a toy car on the floor

It's a Toy. Shot on Ilford Delta 100, developed in Rodinal

Lets my creativity run wild

A Graflex RB Series B is a good quality camera when used as intended. Its big 6x9 film size is suitable for demanding situations, and the lens is contrasty and clear. However, my Graflex is even better when used as not intended since the lack of nanny functions lets my creativity run wild. One of my favorites is free lensing, either by using the camera’s own lens or even some foreign lenses like my Soviet-made Jupiter 11 lens. An in-build shutter allows free lensing with almost any lens.

The bellows focusing is easy with the lens attached to the camera or just held in place with a hand. The challenge, though, is that with its long light path, many lenses won’t focus to infinity. You can use them only for close-ups, portraits or even macro photography. But then again, the long light path makes it easy to prevent light leaks during free
lensing. And that’s a huge plus!

Black and white photo of trres in the woods, simplistic

Early Spring Morning. Shot on Ilford HP5+ film @200, developed in Rodinal

 

Multiples Exposures

Another exciting effect is multiple exposures. As the shutter and the film back are not connected, I can quickly shoot as many frames as I want on top of each other just by not advancing the film. The camera won't mind. I have all the freedom and flexibility.

Long exposure black and white photo of a mug Black and white photo of a flower

I just love cameras like this. A primitive mechanical construction provides complete flexibility, and little automation offers creative ways to misuse the camera. And that's what I love in film photography: I can select my own path, even a wrong one if I so choose. Algorithms or mainstream designs do not limit me – a valuable treat these times!

Black and white image of a tree with no leaves

No Algorithms. Shot on Ilford HP5+ film, developed in Rodinal.

 

 

The post wordpress-seo$s appeared first on Ilford Photo.

05 May 11:32

Details, Nicholas Moegly

05 May 07:57

Knock loud, I’m home - Roger Sieber

04 May 08:07

Surreal Narratives Unfold in Natural Settings in Michelle Kingdom’s Enigmatic Embroideries

by Kate Mothes

“Skies have a way of falling” (2022). All images © Michelle Kingdom, shared with permission

Immersed in dreamlike surroundings, figures interact with nature and participate in enigmatic rituals in embroideries by Michelle Kingdom (previously). The Los Angeles-based artist continues to explore what she describes as “psychological landscapes,” portraying a diverse range of figures in ambiguous activities and settings that are intricately composed from thread. Drawing on the rich traditions of needlework, she takes a more freeform approach to the medium in which stitching becomes a tool for sketching, honoring its history while subtly subverting convention.

Often gathered together, Kingdom’s subjects appear to be performing vital tasks or observing fascinating or momentous occurrences, yet their intentions are mysterious. Her compositions combine elements of nature, geometry, and allegory. In her statement she writes, “Memories, histories, and mythologies collide amid an undercurrent of political turbulence. Entwined, these influences explore power, relationships and self-perception.”

The artist is currently working toward a solo exhibition with bG Gallery in Santa Monica in early 2023. You can find more work and follow updates on her website and Instagram.

 

“After all, it was only make believe” (2021)

“Securely Fastened” (2021)

“True Blue” (2021)

“We grow accustomed to the dark” (2021)

“As if they stood under glass” (2021)

“Exchanging Heaven for Earth” (2021)

“No Respite” (2020)

“The Orbit of Paper Moons” (2021)

04 May 08:06

Retrograde, Sebastian Voltmer

03 May 09:27

Francis Alÿs @stoppingoffplace

03 May 09:27

Swell, Nick Prideaux

02 May 13:21

Road Runners

Road Runners

Chukwudi Onwumere

Focusing his lens down below onto the streets to document the daily lives of street hawkers in Nigeria, Chukwudi Onwumere’s images explore the intersection between informal trade and public space.
Focusing his lens down below onto the streets to document the daily lives of street hawkers in Nigeria, Chukwudi Onwumere’s images explore the intersection between informal trade and public space.

Chukwudi Onwumere’s work peers at the foundations of society, the labor that forms it, and the people behind that labor. It’s not enough to simply look at his pictures; they call us to consider the lives of those he portrays, the social and economic forces that shape their decisions, and the conditions in which they strive to create livelihoods within. Onwumere’s Road Runners observes youthful entrepreneurship in public spaces throughout Nigeria. The people in his pictures sell their wares, hustle for those sales, and build from the ground up as high as they can manage.

From a top-down perspective, Onwumere brings us into the perspective of a sociologist. The photographer seeks to isolate his subjects, represent them in minimal contexts, and allow viewers’ minds to wander beyond the visible. Most photographs hint rather than explain. Their inferrals insist that the narratives within the frame are never complete, but exist as small pieces of much larger ideas that aesthetics alone cannot account for. It’s in this premise that we can use Onwumere’s images as a starting point to begin to understand the more powerful forces of economic and social foundations that underpin the small moments that the photographs describe
to us.

In this interview for LensCulture, Gregory Eddi Jones speaks to Onwumere about his interest in anthropo-geography, the draw of public space and the process behind his award-winning project Road Runners.


Sky Walk. Four young men carrying their merchandise along Ibafo bus stop, Ibafo, Ogun state, Nigeria. © Chukwudi Onwumere
Shades. Five young men carrying their sunglasses merchandise on their heads along Gwagwalada expressway, Abuja, Nigeria. © Chukwudi Onwumere
Five Popstars. Evening rush hour, five young men carrying bags of popcorn walking along Ibafo bus stop, Ogun state, Nigeria. © Chukwudi Onwumere
Grains. Two hawkers at a bus stop, along Gwagwalada expressway, Abuja, Nigeria. © Chukwudi Onwumere
Whirl Blue. A hawker walking beside Gwagwalada expressway, Abuja, Nigeria. © Chukwudi Onwumere
Silver Spray. Six young men hawking wheel spray along Gwagwalada expressway, Abuja, Nigeria. © Chukwudi Onwumere
Collectors. Four scavengers pushing their trucks along Gwagwalda expressway, Abuja, Nigeria. © Chukwudi Onwumere
Gold Dust. Two women, one carrying a tray of boiled gourd and the other carrying a bucket full of masa, along an expressway in Abuja, Nigeria. © Chukwudi Onwumere
Before Scurry. Two young men sitting on a road barricade at Ibafo bus stop with their plantain merchandise beside them. There is free movement on the road, it’s often not a good time to hawk on the expressway. Ogun state, Nigeria. © Chukwudi Onwumere
Convene. Two hawkers having a chitchat at an under bridge on Gwagwalada expressway, Abuja, Nigeria. © Chukwudi Onwumere


Gregory Eddi Jones: Chukwudi, I’m really eager to talk about your project, Road Runners. First though, I wonder if you can talk a little about your background as a photographer, and some of the influences that have helped to shape your approach to your work.

Chukwudi Onwumere: At the early stage of my photography career, I was a landscape photographer. I usually saw my city from a wide-angle but later, I became interested in the anthropogeography of people, places and spaces. This made me zoom in closer to people through observation and exploration but my major influence is as a result of a painting course I did while in the university, which resulted in my attraction to colors.

GEJ: I’d love to dig a little deeper to know how you became interested in anthropogeography, which seems like a really fascinating area of study. What is it about the intersection of people, place, and labor that interests you so much?

CO: My interest in the convergence of people, place and labor is in how it portrays culture, social recollection and growth. These issues are reflected in our daily routine and I think it somehow forms the bedrock of how a society is perceived.

GEJ: Road Runners is a project about ‘street hawking,’ a means for youths to make a living by selling items on the street. Can you talk about what made you interested in this subject?

CO: What drew my attention to the subjects in this work is the concept of an informal trade in informal spaces and the appropriation of public space. My attraction for them grew from the tenacity, zeal, strength and agility I have seen them display and the role they play in the society which has made people dependent on them. So, I decided to paint them in a different light showing positivity and hope using colors, perspective and shadows.

GEJ: When you talk about the informality of this kind of market, you get me thinking about larger social structures, how people can be included or excluded, and how the latter find ways to exist more on the margins of proper order. Can you talk about the types of people who pursue this life on the boundary? What are the factors that have driven them there in the first place?

CO: There are different types of people who pursue this life on the margin. Certain brands employ this avenue because it is a cheaper and faster way to penetrate their target audience. The visibility of those goods on the road creates an awareness for the brand. People without formal education, skill and school dropouts are often the ones who engage in hawking. This may be ascribed to lack of funds, loss of parents or benefactors. Children and teenagers who fall on this margin help their parents to sell their wares before and after school. This could be in the class of food or fruit items.The factors that drive them there are lack of strong political, economic and social structures.

GEJ: I really love how synchronized these images are in composition and perspective. There’s a sense of detachment that you place the viewer in in relationship to the subjects. And because of that the pictures almost become more like a sociological study, is that fair to say?

CO: Yes, but it is more of a sociocultural investigation because I was also interested in the way of life of these hawkers at the different locations where I captured the images. This includes their attire and the content of what they are hawking.

GEJ: Are these different locations in a single city, or do they represent a broader geographical scope?

CO: The images were taken in three different states in Nigeria; Ogun state, Abuja (F.C.T) and Lagos state. After doing a recce in some parts of the three states, I chose to shoot from one spot in each of them. Because each of the chosen pedestrian bridges I finally settled to shoot from gave me a good perspective, less distraction and a desired weather condition. Two out of the three locations represent a broader geographical scope.

GEJ: Road Runners seems to have a lot in common with another project of yours, Shades of Hustle, where you also dive into the nature of labor and economics, albeit with a more ‘traditional’ strategy of storytelling. At the root, do you think these projects strive to tell the same kinds of stories?

CO: Not a lot actually. Shades of Hustle is a collection of different images that sheds light on the general scope of work—hustle. Some of them have nothing to do with labor. But Road Runners has a more dedicated and focused idea with different tentacles reflecting culture, economics, spatial interrogation and informality of the trade which borders on social structure.


This work was selected as a winner of LensCulture’s Art Photography Awards 2022. See all of this year’s winners.

Enjoy more great photography:

Sky Walk
Shades
Five Popstars
Grains
Whirl Blue
Silver Spray
Collectors
Gold Dust
Before Scurry
Convene
02 May 08:15

Train in vain, Bill Shapiro

28 Apr 09:05

Emre Çakmak

by Marianna Parenti
28 Apr 08:52

Bye bye blue, Jean Jullien

28 Apr 08:52

Monumental Installations by Henrique Oliveira Explore the Eerie Nature of Architecture

by Kate Mothes

“Desnatureza” (2011). All images courtesy of the artist and shared with permission

Erupting from floors, doorways, and furniture, artist Henrique Oliveira’s artworks (previously) are a remarkable comment on the relationship between the built environment and the power of nature. In installations that explore the relationship between reality and otherworldly spectacle, enormous wooden limbs and vine-like forms emerge from walls and ceilings that have been cracked, broken, and twisted around the emerging growth, unable to contain it.

Oliveira uses various readymade and organic materials such as bricks, wood, PVC, tree branches, mud, and other found items. He has incorporated tapumes, a Portuguese term for “enclosure” or “boarding,” which is typical of the plywood fencing installed around his home city of São Paulo that becomes weathered and varied in color and texture.

Pieces range in size from a few feet, such as furniture works like “Chest of Drawers,” to immense installations that sprawl across expansive exhibition spaces. Some of his largest works, such as “Transarquitetonica,” have been experienced by walking around the exterior or venturing inside. In this piece, the opening of a tunnel mimics the contemporary architecture of the Museu de Arte Contemporânea building in São Paulo. It then gradually transforms into a series of woody paths, giving the impression of exploring different routes inside a giant tree’s tangled limbs.

Many of Oliveira’s works are permanently on view around the world, and you can find more information on his website and on Instagram.

 

“Dead Fire,” (2012)

“Chest of Drawers” (2013)

“Transarquitetonica” (2014). Image by Everton Ballardin

Interior of “Transarquitetonica” (2014). Image by Everton Ballardin

“Corner Prolapse” (2009)

“Sisyphus Casemate” (2018)

“Xilonoma Chamusquius 2” (2012). Image by Everton Ballardin

Foreground: “Desnatureza 2” (2014). Image by Nash Baker

“Xilonoma Chamusquius 3” (2012)

“Baitogogo” (2013). Image by André Morin

28 Apr 08:49

Anthropomorphic Interventions in the Landscape by Estelle Chrétien Playfully Examine Rural Life

by Kate Mothes

“Land Operation” (2016-2020). All images © Estelle Chrétien, shared with permission

For artist Estelle Chrétien, the expansive lawns, fields, and wooded ravines around her home in Nancy, France, and other parts of Europe become sites of mischievous mixed-media interventions. Through a playful approach that she refers to as gauillant, akin to the feeling of playing in the mud or jumping in puddles, the works develop through chance encounters with the landscape and objects within it. Displayed in an “open-air” exhibition style, her pieces can be encountered by viewers in a similar way, with the potential to surprise and delight.

Chrétien is particularly interested in rural and natural places and examines the way we interact with those environments through an often humorous or ironic anthropomorphizing of her surroundings. Naturally occurring forms and textures inspire temporary installations like “Dessous” (“Underneath”) in which a tree with a double trunk, adorned with some oversized underpants, transforms into a pair of long legs jutting out of the ground. In “Opération Terrestre” (“Land Operation”) the manicured lawn of a stately home has received a wound in need of stitches.

The process of learning how to construct or manipulate different mediums is an important part of Chrétien’s approach. From crocheting industrial twine around a hay bale to repurposing a door into the shape of a giant key fob, she enjoys experimenting with unassuming materials in unexpected locations. She is currently preparing for a new open-air project in France this summer, and you can find more of her projects on her website and Instagram.

 

“Dessous” (2020)

“Land Operation” (2016-2020)

“Les pieds au sec” (2015-2020), in collaboration with Miguel Costa

“Ficelle Agricole Bleue” (2014)

“Dessous” (2020). Image by Miguel Costa

“Propriété” (2021)

“Colonne” (2020)

28 Apr 08:45

Moon Shadow on Jupiter

What is that large dark spot on Jupiter? What is that large dark spot on Jupiter?


28 Apr 08:44

NASA's SpaceX Crew-4 Launch

The mission launched April 27, 2022.
26 Apr 14:54

Alignment, Prasun Agrawal

26 Apr 14:51

An Angel Wing in Space

This Hubble Space Telescope image features two merging galaxies in the VV-689 system, nicknamed the Angel Wing.
26 Apr 08:30

The last days of disco, Bill Bernstein