recent photographs taken

i really like (August 2010)

Richard Tuttle, Pink Oval Landscape, 1964. Painting on canvas and wood, 17.1 x 22 x 2.4 in.


Hannah Collins, In the Course of Time II, 1994, Photograph on paper mounted on muslin
image, 2624 x 5860 mm

Extract from a poem by Hannah Collins:

'The sun rises and hovers over the woods. Little mice run through the undergrowth. The hushed voice of some singers floats across the air with the songs of morning birds and in the distance is the sound of passing cars.

A faint path through the vertical trees marks the hunter's space. The hunter carrying flowers searches around the flat grey stones overcome by nature's abandon in a mass of peaceful green. In this most absent of crowded places the visitors search their childhood experiences and their souls keep company with my end of century mind. The hunter moves through this overgrown space in the quietest of ways allowing the breeze to lift his spirit gently.'

http://www.hannahcollins.net


Richard Hamilton, I'm Dreaming of a White Christmas, 1967-68

grains of memory

'THE POINT'

something about the light that pulls me in

hammock & metal

HANS HAACKE



Hans Haacke, Blue Sail, 1964-1965, installation

Haacke's early work as a conceptual artist focused on systems and processes. Some of the themes in his early works from the 1960s, such as Condensation Cube (1963–65), include the interactions of physical and biological systems, living animals, plants, and the states of water and the wind.



CESAR


COMPRESSION PORTRAIT
Original lithograph with copper plate in relief, hand-signed in pencil.

Cesar (César Baldaccini) was at the forefront of the New Realism movement with his radical compressions (compacted automobiles, discarded metal, or rubbish), expansions (polyurethane foam sculptures), and fantastic representations of animals and insects.



César, Relief tôle, 1961. Assemblage of pieces of automobile bodywork mounted on a frame.

astronomically speaking

lines that represent the pulses made from the collapse of a star

the Boyle family

Mark Boyle was born in Glasgow. During the 1960s he collaborated with his partner Joan Hills (born 1931) in making assemblages of junk and found objects, before moving on to produce replicas of sections of the earth. Their project 'Journey to the Surface of the Earth' was launched in 1968 - 69. After being blindfolded, they threw darts at a world map, in order to pinpoint 1,000 areas of the earth's surface to duplicate. On travelling to a selected site, the Boyles would throw a T-square in the air to select a random area to replicate. In the 1970s their two children (Sebastian, born 1962 and Georgia, born 1963) assisted in producing these works; together they operated under the name 'Boyle Family'

The Boyle Family's art has also embraced performance, projections and light-shows, data collection and micro-photography. The aim is to embrace all aspects of an ever-changing world and to make us look, hard and long, at this world's endlessly fascinating details.

Addison Crescent Study (London Series)1969


This is part of the 'London Series' group of works by Boyle Family. It is an exact, three-dimensional replica of a kerb from Addison Crescent in West London. The artists chose this area to replicate by throwing darts, at random, at a map. The work was made by spreading a plastic substance called Epikote on the ground, which lifts up all the surface debris when removed. This was then given a fibreglass support and painted. Working in this way and recording whatever is within the chosen area, removes the aspect of subjective choice and reduces the conscious, decision-making process.

Medium Painted fibreglass and mixed media
Size 247.00 x 244.00 x 19.00 cm



>>>>>>>>>>>>>>>>>>>>more works of theirs to be added to this blog>>>>>>>>>>>>>>>>>>

making photomontage and small structures inspired by newspaper stories

Ayoung Kim
Minima Memoria
5th June - 1st August 2010
Streetlevel Photoworks - Glasgow

In Minima Memoria the artist has created a series of photographic works based around headlines in newspapers describing serious crimes, suicides, unusual incidents and disasters. From these headlines, she re-imagines and recreates the scenes as 3D models and then produces these photomontage works to bring a fresh and new perspective to the story.

The artist has described the photographs as representing various fleeting and ephemeral events that happen in the world, being transformed into representations in news media. She said ‘I take pictures from my environment, alter the images and move them into stage-sets according to each context of event which I collect from the UK and from South Korea, where I come from.’




‘(Kim) deconstructs and reconstructs a world of images to explore her own place within it… Her dizzying angular perspectives provide sets for staging herself, a character dislocated and displaced, finding echoes of her own experience in disasters that happened just around the corner, or to girls whose experience as students abroad mirrors her own (until the moment they disappeared). Meaning emerges from Kim’s fearless examination of the meaninglessness of these small catastrophes. She cannot unlock the mystery of Alexander Litvinenko’s death or an anonymous city suicide; the construction of each dense delirious image is an opportunity for the artist to project herself imaginatively into a scenario, to probe its poetic and metaphorical possibilities… Ayoung Kim restages the crime with the cool logic of the detective and the gruesome fascination of the voyeur. Her cutting and pasting takes place in three dimensional space, yielding impossible spaces for the eye to penetrate. In the process of montage some of the original meaning of the images is lost, and other meanings accrue.’



Born in Seoul, Korea in 1979, Ayoung Kim is a an artist who lives and works in London.
She was given a B.A. (Honours) in Photography from London College of Communication and an M.A. in Fine Art at Chelsea College of Art and Design. She had a solo show Ephemera at I-Myu Projects, London in 2009, and group shows including Korean Eye: Moon Generation, Saatchi Gallery, London, 2009, Lateral Thinkers - from the Mind to the Wall in Darmstadt days of photography, Mathildenhohe, Darmstadt, Germany in 2008, and T.error: Your Fear Is an External Object, Mucsarnok (Kunsthalle) Budapest, Hungary in 2008.