Never Wilting Flower Project






Posted by
Robert Kulisek
at
11:11 PM
Labels: 2000s, france, Kathryn Hillier, Rebbecca Veit, still life
Posted by
Robert Kulisek
at
11:11 AM
Labels: 2000s, martina hoogland ivanow, music, sweden
Posted by
Robert Kulisek
at
7:00 AM
Labels: 2000s, anonymity, cell phones, performance, Tyler Healy
Posted by
laurel
at
6:00 AM
Labels: guest blogger, robert kulisek
Posted by
Ryan Barone
at
10:00 AM
Labels: spxchrome, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: iconogenic, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: michael bodmann, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: eric hood, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: abel leao, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: esolla, stock photography
Posted by
Ryan Barone
at
10:00 AM
Labels: slawomir kruz, stock photography
Posted by
laurel
at
6:00 AM
Labels: guest blogger, ryan barone
"Interpreting our relationship with information as a visual spectrum of didactic signifiers, the images in my work subjugate and expand physical experiences simultaneously. The fixed image inherently rephrases an experience. Documentation of this work is not interchangeable with the original object. It instead behaves as a different language through the physical displacement of the viewer as a result of the apparatus."



Posted by
bea fremderman
at
6:37 PM
Labels: 3d, brian khek, Chicago, cultural tropes, photoshop, sculpture
BLUE MATTER
2010-11
"BLUE-MATTER utilizes the structure of a design firm in order to propose body-specific objects that act as aids for future events. These products intend to protect the body and reinstate satisfactory living, causing the viewer/consumer to contemplate current/future events, the consequences of said events on the body, and the inherent economic restrictions associated with consumer society."
"An infomercial suggests the designs’ tangibility –– the objects nevertheless remain in a virtual state. The two realities have the potential to merge, yet, like the proposed objects, their amalgamation is incomplete. The objects remain in an idolized, impenetrable state in which the body strives to subsist. Similarly, vacuum-formed objects act as mock-ups for the deficient objects, emphasizing their in-progress state. Like imperfect blueprints, these plastic forms operate as abstracted drawings for manufactured products."



Posted by
bea fremderman
at
8:53 PM
Labels: 3d, Chicago, Lauren Elder, Lenox-Lenox, New Media
HYPNOPOMPIC BOWER (2008)
Chamber installation
"A two-part installation compositing 19th century phantasmagoric display and contemporary signifiers of horror. The title alludes to the term for the moment before waking, when imagination confuses the vivid dream state for reality. The fantasy and dream narratives mesh, their rules and permeability overlap and nightmares come to life. The work, conceived in 2008, has been installed for the first time in this winter."


Posted by
bea fremderman
at
2:03 AM
Labels: Chicago, irena knezevic, phantasmagoria, staged realities
MIRRORED PHASES:
"The dreamer wakens to a spectral gaze, an unbeknownst irradiation, indulging in the infinite realm of the unknown. Dark spaces meshing with beams of blinding light create transcendence beyond the edge of the frame, sliding into the void of the imaginary."




"Playing with the assumption of a photograph as the documented real, I bring efficacy to otherworldly spaces. I manipulate of color, scale, and light, enhancing the affect of experience, rather than a representation of reality.
I use photography as a way to actualize visions of an alternate world, a space of endlessness. Privileged eyes can burrow into this fantasy space through collective forms like geometric portals, nature, and light."
Posted by
bea fremderman
at
10:18 PM
Labels: Chicago, kafkaesque, Kristen Stokes
From her series Kunstbabys and Thin Ghosts:



"My work engages historic modes of photographing with the aim of reviving the magic of the latent image. In a post- Becher world I find myself reacting against the aesthetic artifacts of objectivity and dead pan photography that have robbed contemporary photography of the wonder and mysticism that were at one time unique to its photochemical qualities.
Through rephotographing vernacular snapshots, my work participates in a conversation about the history of the photograph as a widely used ritual object. By using my familial archive as source material, my photographs subvert the aesthetics of copystand and evidentiary modes of cataloguing in order to unpack the memorial aspects of the photograph. Through highlighting the surface and objecthood of optical prints, I conjure lost notions of photography as a medium for the metaphysical. More recently, my photographs have extended my engagement with photographic history beyond the bounds of the personal archive. I am reapproaching the expressive potential of technical imagery by manipulating the interpretive components inherent to the apparatus. The optical-mechanical system of the camera has long been debunked as a wholly objective indexical device. I delve deeper into the subjective and phantasmagoric potential of the mediated image by utilizing aberattions like the internal reflections of an uncoated lens in a way that reignites the magical elements of optics."
Posted by
bea fremderman
at
1:36 PM
Labels: anti-artifact, aura photography, Chicago, Eileen Mueller
