Kevin Cooley: In Controlled Burns, swirling and imposing clouds of smoke contend with one another in a physical battle between diametrically opposing explosions of black and white. From a structuralist point of view, this imagery serves as metaphor for binary opposition, e.g. good vs. evil or day vs. night, yet this is not the sole line of inquiry. Inspired by the smoke signals of the recent Papal conclave which uses smoke as form of basic communication, this series is apart of a larger artistic pratice focusing on human relationships to nature. Fire is a powerful natural force that we harness for greater good, and it is the only Classical element, that we can create on demand, yet when out of control it has the potential for grave destruction. Contolled burns, is a visual representation of an inherit duality in how we interact with nature, symbolizing our desire to conquere and control nature, reminding us that sometimes we must fight fire with fire.
” Though the subject of my work has no direct relation with the music my band creates, I believe it is born of the same crop and has the same underlying themes and drive. My work was a response to the difficulty of self identification in a post industrial Wales. It reflected the problem of self value and worth in a new non self sufficient country where every corner and horizon echoed the past yet every TV and computer pointed forward. The youth of my generation were born into the void left over in a post industrial country and patriotic pride was hard to come by. So even though my images were not relevant to the lyrical and musical content of the band, the core inspiration was, e.g. drive to achieve, stepping above and beyond, waking up to your own potential, and doing something with your life were all lostprophets anthem calls. To summarise, my work didn’t directly or visually represent the underground hardcore metal scene of the day but it was born out of the same rebellion against complacency and apathy that was inbred being brought up in a very grey poor town.” – Richard James Oliver
This bit of awesomeness brought to you by Roque Alan Deleon. Love it.
Garry Winogrand (14 January 1928, New York City – 19 March 1984, Tijuana, Mexico) was a street photographer known for his portrayal of the United States in the mid-20th century. John Szarkowski called him the central photographer of his generation. Winogrand was known for his portrayal of American life in the early 1960s. Many of his photographs depict the social issues of his time and in the role of media in shaping attitudes. Winogrand’s photographs of the Bronx Zoo and the Coney Island Aquarium made up his first book The Animals (1969), a collection of pictures that observes the connections between humans and animals. His book Public Relations (1977) shows press conferences, protesters beaten by cops, and museum parties. In Stock Photographs (1980), Winogrand published his views of the Fort Worth Fat Stock Show and Rodeo. At the time of his death there was discovered about 2,500 rolls of undeveloped film, 6,500 rolls of developed but not proofed exposures, and contact sheets made from about 3,000 rolls. The Garry Winogrand Archive at the Center for Creative Photography (CCP) comprises over 20,000 fine and work prints, 20,000 contact sheets, 100,000 negatives and 30,500 35mm colour slides as well as a small group of Polaroid prints and several amateur motion picture films.
The Fixie Pizza Cutter will add a cosmopolitan touch to your Friday nights with Pizza and friends. It’s like a miniature version of the authentic Fixie bike, and features double sharp cut discs. There are two different product types: Watermelon (mint and pink) and Bumblebee (black and yellow).You choose!
Positioned on the forecourt of the Art Gallery of South Australia, LANDED is a new site specific sculptural work commissioned for the 2014 Biennial of Australian Art.
Maaike Schoorel <-- Born 1973, Santpoort, The Netherlands; Currently lives and works in New York; Education: 2001 MA, Royal College of Art, London - 1998 BA, Gerrit Rietveld Academy, Amsterdam - 1997 Michaelis School of Fine Art, Cape Town
Henrik Aarrestad Uldalen (1986) is a self-taught artist whose creative production revolves around classic figurative painting, presented in a contemporary manner. Henrik explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism. His focus on atmospheres rather than narratives and realism leaves his painting open for many interpretations.
His works are characterized by a certain syncretism, both in the method and materials used. Sculpture, photography, drawing, video and performance are used independently as well as together to create installations where interaction and exploration are essential. With his work, Javier Pérez reveals his inquiries and reflections on mankind, using a language full of intense metaphor and imbued with a strong symbolism. His works contain an intrinsic dialectic, showing how weak can be the boundary between concepts seemingly opposite such as the natural and the cultural, the inside and the outside or life and death.