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Citizen of the State Quentin Shih March 15, 2012

Posted by bohdan.warchomij in : Art, China , add a comment

Quentin Shih CITIZEN OF THE STATE
Quentin Shih CITIZEN OF THE STATE

Quentin Shih, (AKA SHI XIAOFAN) lives and works as an artist between Beijing and New York. He was born in Tianjing China in 1975.  From 2000 he has worked on fine art projects and exhibited both in China and America.

He work has moved recently into commercial and fashion photography and he has produced work for international clients and publications. In 2008 he was selected by Christian Dior as one of 20 Chinese contemporary artists to participate in their exhibition ” Dior with Chinese Contemporary artists”.

Quentin Shih

Quentin Shih Special Projects

His work in “Citizen of the State” is a comment on Chinese preoccupation with heroism and history and a look at hospitals as instruments of pain and suffering.

Quentin Shih CITIZEN OF THE STATE
Quentin Shih CITIZEN OF THE STATE

Anthony Riding Gallery July 4, 2011

Posted by bohdan.warchomij in : Anthony Riding Gallery, Art, exhibition , add a comment

The Anthony Riding Gallery, at the end of a cul-de-sac in Pearse St, North Fremantle, is Perth’s newest gallery space and a revelation.

Its  500sq  m of exhibition space houses the work of Justin Smith, New York based visual artist Christian de Vietri, photographer and filmmaker Jack Pam, and Tom Muller and Jean-Thomas Vannotti, who make up Maschi Fontana. Outside, there’s another 100sq  m of space for sculpture. All in all, it’s  a unique gallery aimed at showcasing world-class art, conceived and conceptualized and energized by Ben Riding and Andreia Anthony.

I first met Ben Riding when he was 19 and I was talked into documenting a multi-arts project in South Perth.

Then, the former Scotch College schoolboy co-curated Hotel 6151, a major multi-arts project that exposed the talents of more than 50 artists, theorists, performers, fashion designers, musicians and filmmakers. It was an incredibly exciting night,

Riding and his team turned a disused hotel in South Perth into an interactive art gallery and received international acclaim. And he’s doing it again. The Anthony Riding Gallery plans to offer an annual prize of between $10,000 and $20,000 to promising artists.

“We want to promote and nurture the visual arts with an emphasis on West Australian artists,” says Riding, who has completed artist residencies in London and Berlin.

There is the same excitement about this gallery that I felt when I documented Hotel 6151. The energy of Andreia Anthony and Ben Riding has changed the art scene and the art direction of Perth in a major way.

Ben Riding and Andreia Anthony Photo Bohdan Warchomij
Ben Riding and Andreia Anthony Photos Bohdan Warchomij

Anthony Riding Gallery
Anthony Riding Gallery

Anthony Riding Gallery
Anthony Riding Gallery

Anthony Riding Gallery
Anthony Riding Gallery

Permanent Error Pieter Hugo April 17, 2011

Posted by bohdan.warchomij in : Art, Fine Art, Pieter Hugo , add a comment

Pieter  Hugo has been photographing the people and landscape of an expansive dump of obsolete technology in Ghana. The area, on the outskirts of a slum known as Agbogbloshie, is referred to by local inhabitants as Sodom and Gomorrah, a vivid acknowledgment of the profound inhumanity of the place. When Hugo asked the inhabitants what they called the pit where the burning takes place, they repeatedly responded: ‘For this place, we have no name’.

Their response is a reminder of the alien circumstances that are imposed on marginal communities of the world by the West’s obsession with consumption and obsolesce. This wasteland, where people and cattle live on mountains of motherboards, monitors and discarded hard drives, is far removed from the benefits accorded by the unrelenting advances of technology.

The UN Environment Program has stated that Western countries produce around 50 million tons of digital waste every year. In Europe, only 25 percent of this type of waste is collected and effectively recycled. Much of the rest is piled in containers and shipped to developing countries, supposedly to reduce the digital divide, to create jobs and help people. In reality, the inhabitants of dumps like Agbogbloshie survive largely by burning the electronic devices to extract copper and other metals out of the plastic used in their manufacture. The electronic waste contaminates rivers and lagoons with consequences that are easily imaginable. In 2008 Green Peace took samples of the burnt soil in Agbogbloshie and found high concentrations of lead, mercury, thallium, hydrogen cyanide and PVC.

Hugo collapses our notions of time and progress in his photographs. There are elements in the images that fast-forward us to an apocalyptic end of the world as we know it, yet the alchemy on this site and the strolling cows recall a pastoral existence that rewinds our minds to a medieval setting. The cycles of history and the lifespan of our technology are both clearly apparent in this cemetery of artifacts from the industrialised world. We are also reminded of the fragility of the information and stories that were stored in the computers which are now just black smoke and melted plastic.

In this exhibition Hugo also raises debates about the representation contained within the photographic frame. The context of these images and the fluidity of reality, in relation to the static image, will be seen in a multi-screen installation of footage filmed in Agbogbloshie. These cinematic elements, presented on old televisions, bring to our attention the circumstances occurring outside the constructed frame of the photograph.

The Permanent Error series will be published by Prestel in March 2011.

Pieter Hugo PERMANENT ERROR
Pieter Hugo PERMANENT ERROR

Pieter Hugo PERMANENT ERROR
Pieter Hugo PERMANENT ERROR

Quinn Jacobson WET COLLODION April 17, 2011

Posted by bohdan.warchomij in : American Photographers, Art , add a comment

Quinn Jacobson is a fine art photographer with a special interest in early photographic processes who has published a book on the early chemical processes and sells it from his website. I came across his work in Square Magazine and wanted to share it with readers.

The work is hauntingly beautiful, painstaking and collaborative.

http://studioq.com/

Photo Quinn Jacobson
Photo Quinn Jacobson

WET COLLODION PROCESS

In 1846, Christian Frederick Schönbein (1799-1868) of Basel, Switzerland, discovered nitrated cotton (guncotton) by combining cotton fibers in a mixture of sulfuric and nitric acids. Two years later, in 1848, a young medical student in Boston by the name of John Parker Maynard formulated a durable, skin like, medical dressing (like liquid bandage) from the guncotton called “collodion” (from Greek kollōdēs, glutinous, glue-like) that could be used to treat wounds.

In 1850, Gustave Le Gray (1820-1884) proposed the idea that Dr. Parker’s collodion solution could be applied to photographic purposes because it was an excellent vehicle for holding a light-sensitive solution on glass.
In March 1851, Frederick Scott Archer (1813-1857) described an application of salted collodion on sheets of glass for the purpose of making glass plate negatives. Archer detailed a process where potassium iodide was combined with a solution of diluted collodion (diluted with alcohol and ether), applied to a glass plate, which was then immersed in a silver nitrate bath resulting in a light-sensitive layer of silver iodide. Unlike the handful of processes before collodion, Archer did not patent the process and died penniless a few years after its invention (1857).

CHEMICAL PICTURES A book on alternative photographic processes
http://studioq.com/chemical-pictures-book/

Photo Quinn Jacobson
Photo Quinn Jacobson

Pilbara Project April 10, 2011

Posted by bohdan.warchomij in : Art, Australian photographers, exhibition , add a comment

We need stories to match the size of the open pit mines, the length of the trains, the keels of the carriers.’
William L Fox, 2010

Tony Hewitt Photography
Tony Hewitt Photography

Christian Fletcher Photography
Christian Fletcher Photography

Tony Hewitt Photography
Tony Hewitt Photography

In February 2011 FORM  presented the first Pilbara Project exhibition. This exhibition opened on consecutive nights in both FORM Gallery in Perth and the Courthouse Gallery in Port Hedland, and features new photography and film by  artists Les Walkling, Tony Hewitt, Christian Fletcher, Michael Fletcher and Peter Eastway. Curated by William L. Fox, Director of the Art + Environment at the Nevada Museum of Art, the exhibition considers the collision and interconnection between  land, industry and the cultures of the Pilbara.

The work depicts a set of visual narratives and individual stories from these creative minds, offering a new and different way of seeing and knowing this place. The exhibition considers industry, so crucial to this region, the state and nation, but also acknowledges that industry is just one layer within the complex strata of the Pilbara’s identity and history.

Have caught up with The Pilbara Project as it approaches the end of its run at FORM gallery in Murray Street Perth.  It comes down on the 29th April 2011 and is a must see collection of work from a group of well respected photographers  on the unique landscape of the Pilbara. The scale and the quality and  the creative insight behind the project will ensure this exhibition’s  impact on Australian photography.

Photographing the landscape as image, text or theatre removes it from its symbolic connection to the material earth. Landscape remains more than representation and the social practice that constructs it, although there are elements of that in this exhibition. The social relevance of landscape inevitably exceeds the purely visual and this collective ehibition has succeeded in travelling well beyond representation.

Image Les Walkling Copyright
September, 22 2010
Old Drive-In, South of Karratha
Les Walkling
Photography

The Power of Self March 31, 2011

Posted by bohdan.warchomij in : Art, Artists Wanted, Awards , add a comment

THE POWER OF SELF 2011

From Bruce Nauman to Picasso, Cindy Sherman to Rembrandt, Giacometti to Alice Neel, the self has been the subject of endless exploration by the world’s greatest artists, allowing the discovery (and re-discovery) of personal identities and artistic styles. The Power of Self is an international open call for your explorations in self-portraiture, accepting works in all mediums including painting, drawing, sculpture, video, design, illustration, multi-media and photography. Show the world who you are as an artist and individual for a chance at over $50,000 in prizes and awards, including an Artist’s Reception in NYC, a Q&A published on Artinfo and One Year of Your Life, Paid. Your deadline to enter is April 15th – register now and collect public votes for a chance at the $2,500 People’s Choice Award. Click here to Participate >>

Bruce  Nauman 600

Homo Plasticus: Philip Toledano Photos March 3, 2011

Posted by bohdan.warchomij in : Art, exhibition, Fine Art , add a comment

Dina Photo Philip Toledano
Dina Photo Philip Toledano

The inventive and creative Philip Toledano came to my attention when he photographed his father in a lyrical yet heartbreakingly honest photographic style in the series Days with My Father . He  is also capable of creating staged and fantastical imagery, as with his Hope&Fear series. In many cases, he combines the two sensibilities. In A New Kind of Beauty, Toledano documents plastic surgery patients, drawing out both their ethereal qualities as well as their tragic humanity.

On his website he writes:

“I’m interested in what we define as beauty, when we choose to create it ourselves.

Beauty has always been a currency, and now that we finally have the technological means to mint our own, what choices do we make?

Is beauty informed by contemporary culture? By history? Or is it defined by the surgeon’s hand? Can we identify physical trends that vary from decade to decade, or is beauty timeless?

When we re-make ourselves, are we revealing our true character, or are we stripping away our very identity?

Perhaps we are creating a new kind of beauty. An amalgam of surgery, art, and popular culture? And if so, are the results the vanguard of human induced evolution?”

Toledano’s latest ofering now at Brooklyn’s Klompching Gallery is the A New Kind of Beauty. It will attract large audiences.
Toledano  stages his subjects coolly in  a classical large-format studio-style.

Angel by Philip Toledano
Angel by Philip Toledano

Marionettes February 21, 2011

Posted by bohdan.warchomij in : Art, Australian photographers , add a comment

Samantha Everton

Marionettes

March 26 – April 9 2011

More of Samantha Everton. There has always been something unsettling and yet strangely familiar about Samantha Everton’s imagery. It lures us in and holds us spellbound as we ponder the source of our curious fascination. Everton’s innate ability to access the subliminal in sumptuous visual narratives of cross-cultural, sociological and psychological relevance, along with the unerring integrity of her photographic processes has gained her international recognition. At the prestigious Prix de la Photographie Paris (Px3) 2010, she achieved 1st Place in the Portrait category, 3rd Place in the Fine Art category and an Honourable Mention.

Samantha Everton will launch her latest series of photographic art Marionettes at Anthea Polson Art, Main Beach, Queensland, in March 2011. As with previous series, Utopia, Vintage Dolls, Childhood Fears and Catharsis, the new body of work accesses realms of the uncanny that Everton calls ‘magic realism’. ‘I love surrealism,’ she explains, ‘Dali, Escher – pictures where there’s something extra if you look a little closer.’ Marionettes extends her visual exploration of interior states of being, but here the focus has shifted from that of the child’s to ‘grown-up’ issues of isolation and loss of control amidst everyday domestic situations. The works examine the overwhelming impact modern society can have on the individual’s sense of purpose as external, and often media-driven pressures invade the most private spaces of mind.

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Samantha Everton February 5, 2011

Posted by bohdan.warchomij in : Art, Australian photographers, Fine Art , 2comments

Grace photo Samantha Everton
Grace photo Samantha Everton

“Beneath the floor of the comparatively neat little dwelling that we call our consciousness are unsuspected Aladdin caves. Down there, not only jewels but also dangerous jinn abide – the inconvenient or resisted psychological powers that we have not thought or dared to integrate into our lives.” *

Samantha Everton has obviously arrived as a  fine art photographer having been selected as the sole judge of the 2011 Moran Photographic Prize.

In November 2010 Anthea Polson Art  presented for the first time in Queensland, a selection of magnificent, limited edition photographic artworks by multi-award winning Samantha Everton. It was a rare opportunity to view the Melbourne-based artist’s critically acclaimed Vintage Dolls and Childhood Fears series. The exhibition was a prelude to her forthcoming new body of work that will have its national premier with Anthea Polson Art in March 2011. Collected Works also celebrates Everton’s extraordinary achievements at the Prix de la Photographie Paris (Px3) this year. An international panel of judges selected the 2010 Px3 winners from thousands of entries from over 85 countries. Samantha Everton was awarded: First Prize in the Portraiture – Children category for her entry entitled Grace (Vintage Dolls Series), Third Prize in the Fine Art – People category for Siam (Vintage Dolls Series) and also received an Honourable Mention for Bewitching Hour (Vintage Dolls Series).

Everton’s rise to international recognition is the result of the unerring integrity of her photographic processes and an innate ability to access the subliminal in sumptuous visual narratives of cross-cultural, sociological and psychological relevance. Through fantastic and disturbingly lush imagery, we are lured into the realms of make-believe that Everton calls “magic realism”. “I love surrealism,” she explains, “Dali, Escher – pictures where there’s something extra if you look a little closer.”

Eighteen months in the making, the 2009 Vintage Dolls series is set in a shadowy world betwixt dreams and waking. It features a cast of five elaborately attired girls entertaining themselves in an abandoned house. Everton went to quite extraordinary lengths in sourcing exactly the right children, props, costumes and house for the images. Eventually she found a building ready for demolition, surprisingly, at the end of her suburban street and was able to set about meticulously creating the sets for her shoot. Wallpaper and paint were strategically applied, holes knocked into walls to let light in and the floorboards cut so as to submerge the tree that appears in the work, Nocturne. “The house had a ghostly feeling and remnants of a past life; it juxtaposed against the playfulness of the children”, comments Everton. “It’s like the children are in an attic and they’re play-acting but on a deeper level, I wanted to show how children interact with culture and how they absorb and re-enact what they see. I wanted there to be a child with whom each person could identify.”

More sober and silent, the earlier 2007 Childhood Fears series explores the darker realms of adolescence. “This series is about being at an age when you are very much aware of your environment and how different you are from other people,” says Everton. “It’s about wanting to fit in. Childhood fears are universal; the fear of abandonment and the fear of not belonging are common to us all. These images are my interpretations of those places where innermost thoughts and emotions are played out.” There, fantasy and reality entwine in dark deserted streets and ‘retro’ interiors suffused in a greenish, aqueous light connotative of a subconscious realm. The odd stillness of the scenes heightens the suspense of possible outcomes. Paradoxically, there is no sign of fear or vulnerability in the children. They appear ambivalent – complicit even – in the strange happenings.

Everton works primarily as a director on her photo shoots, creating theatrical productions in front of the camera and then photographing them. But nothing happens by chance here. It is of crucial importance that she controls every aspect in the materialization of her initial concept – all the way through to the printing of the photographic image with pigment-based inks onto archival-quality rag paper and the final framing. True to the realism of her work, Everton captures the images on traditional film using a medium format camera, “It is very important to me that the viewer believes in the image, therefore everything you see, from the girl flying through the air to the tree sprouting through the floor, was actually there and shot in camera. Everton is reluctant to explain the narrative content and underlying symbolism in the works, preferring that the viewer respond from a personal perspective. “My images are a snapshot, mid-moment, they don’t begin or end,” she says. “It leaves you to your own imagination, to draw your own conclusions.”

* Joseph Campbell: The Hero With a Thousand Faces, Princeton University Press

JACQUELINE HOUGHTON

Samantha Everton Biography

Samantha Everton credits her unusual childhood as instrumental in fostering a creative mind. Growing up with a biological brother and three adopted Asian siblings, she spent hours fossicking for gemstones under the wide blue skies of remote mining towns in Central Queensland. Hers was a colour-saturated world, “Our house was in the middle of nowhere. Everywhere wheat was growing – taller than us and we’d run and play in fashioned mazes.” Although the multicultural theme underpinning much of her imagery isn’t directly referencing her own family experience, Everton admits it is an influence.

When the opportunity arose Everton travelled to South East Asia – the land of her siblings – on the first stage of a four year journey around the world during which time she supported herself as a barber and a nanny. It was not until Everton arrived back in Australia that she realised photography was the way in which she could incorporate her various talents. After volunteering in photographic studios and newspapers, she found work as a cadet photographer with  The Melbourne Times. Accepted into the RMIT Photographic Design Degree, Everton graduated in 2003 at the top of her class receiving the Steve Vizard Most Creative Folio Award. She was also awarded Highest Aggregate Score Winner from amongst all Victorian photography students.

Since her graduation, she has won a host of awards including: 2010 Prix de la Photographie Paris (Px3) First Prize in the Portraiture – Children, Third Prize in the Fine Art – People, and Honourable Mention; 2009 Prix de la Photographie Paris (Px3) – Honourable Mention; 2009 MORAN Contemporary Photographic Prize – Highly Commended Award; 2009 Selected for the core program of the Ballarat International Foto Biennale; 2008 MORAN Contemporary Photographic Prize – Finalist; 2008 Corangamarah Art Prize – People’s Choice Award; 2007 Prix de la Photographie Paris (Px3) Peoples’ Choice – 1st place; 2006 Twenty-Third McGregor Prize for Photography Award – Winner; 2006 Twenty-Third McGregor Prize for Photography Award – Highly Commended; 2005 Leica Documentary Photographer of the Year Award - Winner; 2005 Head On Photographic Portrait Prize, Michael Nagy Gallery – Second Place; 2005 33rd Alice Prize – Acquisition of work for Alice Springs Art Gallery Permanent Collection; 2004 Victoria Fulbright Visual and Performing Arts Award – Australian National Finalist; 2003 AIPP Australian Professional Photography Awards – 1 gold and 2 silver medals.

Samantha Everton has created five bodies of photographic art, namely: the Utopia series, 2009; the Vintage Dolls series, 2009; the Childhood Fears series, 2007; the Catharsis series, 2005 and the Inaugural Collected Works series, 2003. A new series will be launched at Anthea Polson Art, Main Beach Queensland in March, 2011. Everton’s work has been published and reviewed in numerous books and specialist art magazines around the world, including The New Yorker, Photofile, Harper’s Bazaar and Blanket magazine. Her various photographic series have attracted critical acclaim with reviews in the Australian Art Market Report and Australian Art Review. Everton is represented in a number of important private and public collections, including the University of Western Sydney, the University of Southern Queensland, the Rockhampton Art Gallery, the Alice Springs Art Gallery, and Customs House Gallery in Warnambool.

www.samanthaeverton.com

Sentience: An Exhibition of Life at Kurb Gallery in Perth January 18, 2011

Posted by bohdan.warchomij in : Art, Documentary, Fine Art, Jo-Anne McArthur , add a comment

Sentience 4

Sentience 1Sentience5 copySentience 3