Artists/Page 2
FOLLY
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Jack Spencer (March 2009 issue)
(Photos courtesy of Jack Spencer)
(Photos courtesy of Jack Spencer)
Ruben Ochoa (March 2009 issue)
With THERMO I wanted to explore new
photographic techniques and for that
purpose I used an AGEMA Thermovision
570 thermo graphic camera originally used
on military activities and currently used for
industrial services.
In addition, the use of this technology
involved new visual experiences for me and
enabled me to reach my goal: to make
water the central element of my work.
Because the camera is designed to mainly
detect heat generated by objects and
because water was the main element of the
project, the photographed objects (clothes,
frets, metal, etc.) had to be exposed to
water at the highest possible temperature
to be visually differentiated from the rest of
the objects.
(Photos courtesy of Ruben Ochoa)
YouTube Video Link
With THERMO I wanted to explore new
photographic techniques and for that
purpose I used an AGEMA Thermovision
570 thermo graphic camera originally used
on military activities and currently used for
industrial services.
In addition, the use of this technology
involved new visual experiences for me and
enabled me to reach my goal: to make
water the central element of my work.
Because the camera is designed to mainly
detect heat generated by objects and
because water was the main element of the
project, the photographed objects (clothes,
frets, metal, etc.) had to be exposed to
water at the highest possible temperature
to be visually differentiated from the rest of
the objects.
(Photos courtesy of Ruben Ochoa)
YouTube Video Link
Kathleen Kucka (April 2009 issue)
Benjamin Genocchio in his March
2, 2008 New York Times review*
described Kathleen Kucka's
paintings as being
"near-abstractions." He singles out
her paintings as capable of
reminding us that "serious,
concept-based art can also be
pleasurable to view."
(Photos courtesy of Marsha
Mateyka Gallery & Kathleen Kucka)
Benjamin Genocchio in his March
2, 2008 New York Times review*
described Kathleen Kucka's
paintings as being
"near-abstractions." He singles out
her paintings as capable of
reminding us that "serious,
concept-based art can also be
pleasurable to view."
(Photos courtesy of Marsha
Mateyka Gallery & Kathleen Kucka)
Duan Zhengqu (June 2009 issue)
Hans Op de Beeck (July 2009 issue)
Hans Op de Beeck sometimes calls his works
“proposals”; they are irrefutably fictional,
constructed and staged, leaving it up to the
viewer whether to take the work seriously, as a
sort of parallel reality, or immediately to put it
into perspective, as no more than a visual
construct. His work is nourished by a keen
interest in social and cultural reflection. The
artist also questions the difficult relationship
between reality and representation, between
what we see and what we want to believe,
between what is and what we create for
ourselves in order to make it easier to deal
with our own insignificance and lack of identity.
The visual output of that investigation often
produces slumbering, insidious, melancholy
and astonishing images. (Image courtesy of
Galleria Continua, San Gimignano)
YouTube Video Link
Hans Op de Beeck sometimes calls his works
“proposals”; they are irrefutably fictional,
constructed and staged, leaving it up to the
viewer whether to take the work seriously, as a
sort of parallel reality, or immediately to put it
into perspective, as no more than a visual
construct. His work is nourished by a keen
interest in social and cultural reflection. The
artist also questions the difficult relationship
between reality and representation, between
what we see and what we want to believe,
between what is and what we create for
ourselves in order to make it easier to deal
with our own insignificance and lack of identity.
The visual output of that investigation often
produces slumbering, insidious, melancholy
and astonishing images. (Image courtesy of
Galleria Continua, San Gimignano)
YouTube Video Link
Alexandra Grant (September 2009 issue)
Fifth Portal (body) -- by Michael Joyce
You didn’t think so? It’s become almost commonplace, the whole
sack of skin itself thought to be a lung containing, recursively
among other organs, those inferior bellows given that name, but
also gills, heart and intestine, spleen and liver, and atavistic
appendix with the shape and smooth skin of a cashew pod. What
of womb and testes, breast and bicep, thin wand and ocean
depths? What comes and goes is permeation and wherever its
opposite, the corporeal, is present, the sutra says, defilement and
mixing follow. To let it all go freely is an urge we recognize though
cannot claim we know. She for instance lay for hours by the
turquoise pool, her body laved with sunscreen and yet afterward
still like ivory. Here is another famous test. Think of garlic or the
homeopath’s solvents– or rain she adds, the lingering ozone scent
that follows a fine misty rain on a humid August afternoon. Now
say where is the tide. Muscles battered, the sleeper seeks to
escape dreams as incandescent bones throb as if parallel lines
inked repeatedly with a steel rule. O to fly!
(Photo courtesy of Alexandra Grant)
YouTube Video Link
Fifth Portal (body) -- by Michael Joyce
You didn’t think so? It’s become almost commonplace, the whole
sack of skin itself thought to be a lung containing, recursively
among other organs, those inferior bellows given that name, but
also gills, heart and intestine, spleen and liver, and atavistic
appendix with the shape and smooth skin of a cashew pod. What
of womb and testes, breast and bicep, thin wand and ocean
depths? What comes and goes is permeation and wherever its
opposite, the corporeal, is present, the sutra says, defilement and
mixing follow. To let it all go freely is an urge we recognize though
cannot claim we know. She for instance lay for hours by the
turquoise pool, her body laved with sunscreen and yet afterward
still like ivory. Here is another famous test. Think of garlic or the
homeopath’s solvents– or rain she adds, the lingering ozone scent
that follows a fine misty rain on a humid August afternoon. Now
say where is the tide. Muscles battered, the sleeper seeks to
escape dreams as incandescent bones throb as if parallel lines
inked repeatedly with a steel rule. O to fly!
(Photo courtesy of Alexandra Grant)
YouTube Video Link
Aleksandra Mir (October 2009 issue)
VENEZIA (all places contain all others)
The project entails the design, printing and free distribution of one
million postcards to the general public during the 2009 Venice
Biennale.
The 100 motifs depict a variety of waterscapes from around the
world, overlaid with a graphic that spells out ‘Venezia’ in a variety of
typical postcard styles. The generic photographs are sourced from a
commercial online image bank, and a graphic designer collaborated
on the typeface.
The work also entails the installation of a real Poste Italiane
mailbox and the selling of stamps in the exhibition area, to provide
an immediate tool for the physical diffusion of the work by the
public to their relations around the world.
Thus the canals of Venice extend out into the world’s oceans,
rivers, lakes, ponds. Venice in every molecule of the rain. The idea
of waterways as a supranational entity mirrors patterns of
globalization: travel as a matter of course rather than exception,
the erosion of the nation-state, and, conversely, its re-emergence
as a brand to be marketed. Cultural identity emerges as an effect
of global movement rather than static nationality.
VENEZIA (all places contain all others)
The project entails the design, printing and free distribution of one
million postcards to the general public during the 2009 Venice
Biennale.
The 100 motifs depict a variety of waterscapes from around the
world, overlaid with a graphic that spells out ‘Venezia’ in a variety of
typical postcard styles. The generic photographs are sourced from a
commercial online image bank, and a graphic designer collaborated
on the typeface.
The work also entails the installation of a real Poste Italiane
mailbox and the selling of stamps in the exhibition area, to provide
an immediate tool for the physical diffusion of the work by the
public to their relations around the world.
Thus the canals of Venice extend out into the world’s oceans,
rivers, lakes, ponds. Venice in every molecule of the rain. The idea
of waterways as a supranational entity mirrors patterns of
globalization: travel as a matter of course rather than exception,
the erosion of the nation-state, and, conversely, its re-emergence
as a brand to be marketed. Cultural identity emerges as an effect
of global movement rather than static nationality.
Isca Greenfield-Sanders (November 2009 issue)
Against the Fall
Pink and White Parachute (Pink)
Mixed Media Oil on Canvas
35 x 35 inches
Against the Fall
Pink and White Parachute (Pink)
Mixed Media Oil on Canvas
35 x 35 inches
William T. Wiley (March 2010 issue)
(right) Inside and Outside, 2000,
watercolor and ink on paper, 22 x 30
inches, © William T. Wiley, Collection
of Wanda Hansen and Matthew D.
Ashe, Photograph by LA Louvre
Gallery, Venice, CA. "What's It All
Mean: William T. Wiley in Retrospect"
UC Berkeley Museum and Pacific Film
Archive.
(right) Inside and Outside, 2000,
watercolor and ink on paper, 22 x 30
inches, © William T. Wiley, Collection
of Wanda Hansen and Matthew D.
Ashe, Photograph by LA Louvre
Gallery, Venice, CA. "What's It All
Mean: William T. Wiley in Retrospect"
UC Berkeley Museum and Pacific Film
Archive.