Remake / Submissions I will be updating this post with all the submissions to our “Remake” project. Check back here to see work as it comes in and make sure yours is added! Full details about this project are here. “Composition With Red, Blue and Yellow” remake by Katie Jackson “Composition With Red, Blue and Yellow” by Mondrian “Weeping Woman” remake by Frances Adair Mckenzie “Weeping Woman” by Picasso “The Two Fridas” remake by Claire Ball “The Two Fridas” by Frida Kahlo “Le Désespéré” remake by Stefano Telloni “Le Désespéré” remake by Dani Catao “Le Désespéré” by Gustave Courbet “The Little Dance” remake by Floida and Fabiola Skraqi “The Little Dance” by Degas “Pot Pourri” remake by Tania Brassesco and Lazlo Passi Norberto “Pot Pourri” by Herbert James Draper “Las Meninas” remake by Natalie Pereira “Las Meninas” by Velasquez “The Beaneater” remake by Mark Bass “The Beaneater” by Annibale Carracci “Portrait of Frank O Hara” remake by Steven Reigns “Portrait of Frank O Hara” by Mario Schifano “The Ship” by Salvador Dali
Stephen Mallon—Next Stop Atlantic Photography can often dance along a thin line between art and documentation, artist Stephen Mallon takes full advantage of this. Mallon’s newest series, Next Stop Atlantic, takes an intimate look at what happens to New York City Subway cars when they are retired. Mallon captures these massive hunks of steal being dumped into the ocean to create an artificial reef in the Atlantic Ocean. New York City Subway Cars have always seemed to play an interesting roll in history of art. Immediately I am reminded of the golden age of graffiti when a writer could go All City. Next Stop Atlantic seems to remind us about the history that these Subway Cars carry with them. See more of Stephen Mallon here.
Classic: Eugene Smith's 'Country Doctor' - Photo Gallery For his groundbreaking 1948 LIFE magazine photo essay, “Country Doctor” — seen here, in its entirety, followed by several unpublished photographs from the shoot — photographer W. Eugene Smith spent 23 days in Kremmling, Colorado, chronicling the day-to-day challenges faced by an indefatigable general practitioner named Dr. Ernest Ceriani. Six decades later, Smith’s images from those three weeks remain as fresh as they were the moment he took them, and as revelatory as they surely felt to millions of LIFE’s readers the instant they opened the issue in which they appeared, and encountered Dr. Eugene Smith’s at-times almost unsettlingly intimate pictures illustrate in poignant detail the challenges faced by a modest, tireless rural physician — and gradually reveal the inner workings and the outer trappings of what is clearly a uniquely rewarding life.
Forget Your Past – Timothy Allen | Photography | Film Buzludzha, Bulgaria Meanwhile… in Bulgaria .. Over the years I’ve visited my fair share of abandoned buildings. They’ve always held a very strong attraction for me. Somehow, their silent decaying facades offer the perfect blank canvas for an introverted imagination like mine… literally allowing me to conjure up vivid images of the past in my present. It has to be said, that when I was younger there were a hell of a lot more interesting derelict buildings around. Of course my opinion is an unfairly idealised and overly romantic one. Our first view of Buzludzha in the snow storm I first heard about the Buzludzha monument (pronounced Buz’ol’ja) last summer when I was attending a photo festival in Bulgaria. I knew instantly that I had to go there and see it for myself. Every day we had a gruelling trek through deep snow to reach the monument. Buzludha is Bulgaria’s largest ideological monument to Communism. … The monument during its glory days The impressive former main auditorium
archivewall Jeff Wall, Picture for Women, 1979; Silver dye bleach transparency in light box; 56-1/8 x 6 ft. 8-1/2", Collection of the artist; © 2006 Jeff Wall. Jeff Wall, Rainfilled suitcase, 2001, Silver dye bleach transparency in light box, 25-3/8 x 31-1/2", Collection of the artist, © Jeff Wall. Jeff Wall, An Octopus, 1990, Silver dye bleach transparency in light box, 71-5/8 x 90-3/16", © Jeff Wall. Jeff Wall, Poppies in a garden, 2005, Silver dye bleach transparency in light box, 37-3/8 x 46-7/16", Collection of the artist, © Jeff Wall. Jeff Wall, The Flooded Grave, 1998-2000, Silver dye bleach transparency in light box, 89-15/16 x 111", © Jeff Wall. Jeff Wall, Milk, 1984, Silver dye bleach transparency in light box; 6 ft. 2-1/2 in. x 7 ft. 6-1/4", The Museum of Modern Art, New York. Jeff Wall, Doorpusher, 1984, Transparency in lightbox 2490 x 1220 mm, Goetz Collection, Munich, Cinematographic photograph, © The artist. Wall was dissatisfied with his work at this time, however.
The Collection | August Sander. (German, 1876-1964) German photographer. After seven years as a miner and a period of national service, he studied painting in Dresden from 1901 to 1902, which allowed him to approach photography artistically. He had developed an interest in photography through work in photographic firms in Berlin, Magdeburg, Halle and Dresden from 1898 to 1899. At this point Sander started his major project, Menschen des 20. Although this cyclic model of society was anything but progressive, Sander came into conflict with the Nazis. Sander’s portraits, whether half- or full-length, are always set in a simple environment. Sander tried in all his works to incorporate this relationship of sitter to setting up to the last detail, with great confidence but at the same time with caution. After the demolition of his studio by bombing in 1944, when 40,000 negatives were destroyed, Sander retired to Kuchhausen in the Westerwald, where he carried on working under primitive conditions. Reinhold Misselbeck From Grove Art Online top
Fan Ho | PhotoSlaves Posted by Photo Slaves in PhotographersOct 6th, 2009 | 6 responses Award-wining photographer Fan Ho has won 280 awards from international exhibitions and competitions worldwide since 1956. Ho has been elected Fellow of the Photographic Society of America, Fellow of the Royal Photographic Society and Fellow of the Royal Society of Arts, England; Honorary Member of the Photographic Societies of Germany, France, Italy, Belgium, Brazil, Argentina, Singapore and etc, and was honored with One-Man-Shows in the above countries. Ho’s works can be seen and have been published in many International Photographic Annuals all over the world. Fan Ho has been invited by 12 Universities in Taiwan and Hong Kong as “Visiting Professor, ” teaching the art of film-making and photography. Further, Fan Ho is an accomplished and acclaimed Hong Kong film director. It is this diverse cultural background that makes Fan Ho’s creative style so unique, full of lyrical beauty, dramatic power, and poetic grandeur.
The End Starts Here As early evening descended on some excruciatingly hot summers day in 1967, Niven and I were walking slowly through acres of walnut trees at his ranch in Hollister, California, when he mentioned casually that these acres of trees almost became a vineyard. In typical Niven fashion, with a languid meandering drawl, which fit the hot dusty earth of California, he began to unwind a slow and bemused story of an almost wealth that was not to be. California in the early and mid sixties was just beginning to produce grapes on a large scale for wine. Napa and Sonoma were in their infancy as one of the wine producing capitols and one of the largest producers of wine was Almaden Vineyards. Almaden was one of the businesses of Louis Benoist of San Francisco, a descendent of French aristocracy, a uniquely extravagant and flamboyant figure of the late fifties and early sixties, he had five houses planted around California, huge yachts and planes, and a lifestyle that fitted a boastful man of means. P.S.
The Year in Pictures