He's got prints and other things available for sale, too, and 2 books (here and here) via Blurb. Maybe they'll go on my Christmas list.
Showing posts with label cool new artist. Show all posts
Showing posts with label cool new artist. Show all posts
Tuesday, November 17, 2009
Cool New Artist: Erik Otto
I especially like his installations.
He's got prints and other things available for sale, too, and 2 books (here and here) via Blurb. Maybe they'll go on my Christmas list.
He's got prints and other things available for sale, too, and 2 books (here and here) via Blurb. Maybe they'll go on my Christmas list.
Monday, November 9, 2009
Cool New Artist: Carl Van de Roer
I like this series by Carl Van de Roer. It was featured on 20x200, which is one my my faves.
Here's a bit about the series:
The term "orb" is typically used to describe circular artifacts in photographs—artifacts which have been interpreted by some as spirits. Despite being debunked and explained (most commonly as backscatter from precipitation or dust), there's a surprisingly widespread belief that orb photographs document the supernatural. There are organizations, conferences, hunts, field experts, detectors and websites dedicated to spiritualist orb photography.
This photographic search for something larger than ourselves was the starting point for this project. I photographed people in landscapes that are partly obscured by precipitation. The subjects are seen searching for or interacting with orbs, which are represented as dots covering parts of the scene.
Read more here.
Here's a bit about the series:
The term "orb" is typically used to describe circular artifacts in photographs—artifacts which have been interpreted by some as spirits. Despite being debunked and explained (most commonly as backscatter from precipitation or dust), there's a surprisingly widespread belief that orb photographs document the supernatural. There are organizations, conferences, hunts, field experts, detectors and websites dedicated to spiritualist orb photography.
This photographic search for something larger than ourselves was the starting point for this project. I photographed people in landscapes that are partly obscured by precipitation. The subjects are seen searching for or interacting with orbs, which are represented as dots covering parts of the scene.
Read more here.
Thursday, September 3, 2009
Cool New Artist: Erik Johannson
Love these nonsensical photo manipulations by Erik Johannson featured on daily mail. Thanks to Jeff for featuring them first!
See more of Erik's work here.
See more of Erik's work here.
Wednesday, September 2, 2009
I want to dive into a Letitia Quesenberry painting and never come out
I love the work of Letitia Quesenberry!! She does beautiful atmospheric paintings and drawings. Below the art I've included a couple of artist's statements and a little about her.
These drawings are an exploration of the process of making, with attention to surface, materiality, and the transformative aspects of scale. The images intended to question the recollection of experience and the relative nature of perception, taking a vaselined view to embody contradiction: painting/photography, still/moving, specific/ambiguous.
Letitia Quesenberry
until
The work in ‘until’ conjoins transience and stillness, an effort to seize the fugitive nature of perception. Using thin layers of muted plaster to embed and then expose graphite within the surface, small figures emerge from vast disorienting landscapes. Definition of form emanates without outline: shadows and highlights merge. Representation and scale are simultaneously emphasized and understated, relying upon the viewer’s ability to infer. This lag in perceptible information mirrors liminal experience, the transitory struggle to comprehend the unknown. Success hinges upon the subtleties of surface, a minute exchange between material and process. The intention is to investigate and refine this exchange, giving license to the obscure in order to reconstruct representation.
Letitia Quesenberry graduated in 1993 with a bachelors degree in fine art from the University of Cincinnati. Upon graduation, she traveled extensively in Mexico and Europe. She has exhibited work at the Kunsthalle in Mainz, Germany and in numerous group shows including "Images of the World" at the Speed Art Museum and the "2007 DePauw Biennial" at DePauw University. She has received grants from the Kentucky Foundation for Women and the Pace Trust, as well as an Al Smith Fellowship from the Kentucky Arts Council. She recently participated in a collaborative film project entitled MULTIPLY, which was shown at the 2006 Edinburgh Fringe Festival. Her work has been published in NEW AMERICAN PAINTINGS and PITCH MAGAZINE. She was born in 1971 in Louisville, Kentucky, where she lives and works.
"something seen momentarily as though from a window while traveling"-John Cage
These drawings are an exploration of the process of making, with attention to surface, materiality, and the transformative aspects of scale. The images intended to question the recollection of experience and the relative nature of perception, taking a vaselined view to embody contradiction: painting/photography, still/moving, specific/ambiguous.
Letitia Quesenberry
until
The work in ‘until’ conjoins transience and stillness, an effort to seize the fugitive nature of perception. Using thin layers of muted plaster to embed and then expose graphite within the surface, small figures emerge from vast disorienting landscapes. Definition of form emanates without outline: shadows and highlights merge. Representation and scale are simultaneously emphasized and understated, relying upon the viewer’s ability to infer. This lag in perceptible information mirrors liminal experience, the transitory struggle to comprehend the unknown. Success hinges upon the subtleties of surface, a minute exchange between material and process. The intention is to investigate and refine this exchange, giving license to the obscure in order to reconstruct representation.
Letitia Quesenberry graduated in 1993 with a bachelors degree in fine art from the University of Cincinnati. Upon graduation, she traveled extensively in Mexico and Europe. She has exhibited work at the Kunsthalle in Mainz, Germany and in numerous group shows including "Images of the World" at the Speed Art Museum and the "2007 DePauw Biennial" at DePauw University. She has received grants from the Kentucky Foundation for Women and the Pace Trust, as well as an Al Smith Fellowship from the Kentucky Arts Council. She recently participated in a collaborative film project entitled MULTIPLY, which was shown at the 2006 Edinburgh Fringe Festival. Her work has been published in NEW AMERICAN PAINTINGS and PITCH MAGAZINE. She was born in 1971 in Louisville, Kentucky, where she lives and works.
Tuesday, September 1, 2009
Wednesday, August 19, 2009
Cool New Artist: Linda Fantuzzo
So, maybe she's not exactly new, but she's new to me. Charleston artist Linda Fantuzzo is featured in Sept 09 issue of Southern Accents.
Fantuzzo is influenced by Richard Diebenkorn, one of my favorite artists, and Wayne Thiebaud. She calls her style "painterly realism," but it seems very influenced by abstract expressionism. Her work is about light and time. When Fantuzzo thinks a painting is working, she steps away, takes a break, and comes back to look at it in a new light. She turns it upside down and sideways and looks at it in a mirror, in reverse, to help herself see it differently and clarify her sense of its composition. "At that point, no matter now representational it is, I view it abstractly. A good composition works in all positions," says the artist.
Fantuzzo is influenced by Richard Diebenkorn, one of my favorite artists, and Wayne Thiebaud. She calls her style "painterly realism," but it seems very influenced by abstract expressionism. Her work is about light and time. When Fantuzzo thinks a painting is working, she steps away, takes a break, and comes back to look at it in a new light. She turns it upside down and sideways and looks at it in a mirror, in reverse, to help herself see it differently and clarify her sense of its composition. "At that point, no matter now representational it is, I view it abstractly. A good composition works in all positions," says the artist.
Friday, May 15, 2009
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