chinese pool portraits Jia Yi #3516, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Chun Shu #2962, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Duan Duan #3970, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Lin Lin #3915, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Liu Dan #4361, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Qiao Qi #3204, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Shirley #1270, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Shi Zheng #4564, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Yaping #3128, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Zhang Xin #3304, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches) Zhu Zhu #4088, 2007, 141 x 162 cm (55 1/2 x 63 3/4 inches)
Ray Johnson Raymond Edward "Ray" Johnson (October 16, 1927 – January 13, 1995), known primarily as a collagist and correspondence artist, was a seminal figure in the history of Neo-Dada and early Pop art. Once called "New York's most famous unknown artist", Johnson also staged and participated in early performance art events associated with the Fluxus movement and was the founder of a far-ranging mail art network – the New York Correspondence School – which picked up momentum in the 1960s and is still active today. He lived in New York City from 1949 to 1968, when he moved to a small town in Long island and remained there until his suicide. Early Years and Education Born in Detroit, Michigan, on October 16, 1927, Ray Johnson grew up in a working-class neighborhood and attended an occupational high school where he was enrolled in the advertising art program. New York Years I'm an artist and a, well, I shouldn't call myself a poet but other people have.
andreas meichsner photography »The Beauty of Serious Work« captures product testing by the German Association for technical inspections. This association, the so-called TUV (in German: TÜV) is responsible for certifying the safety, performance, and quality of consumer goods and technical equipment. Before going into mass production, prototypes of most consumer products will undergo a wide range of certification tests to ensure the required standards, which may vary, depending on the type of product and the country where the product is to be distributed.
Mitchell-Innes & Nash Justine Kurland: Of Woman Born February 24 – April 7, 2007 December 8, 2006: Mitchell-Innes & Nash will present the first New York exhibition in three years for photographer Justine Kurland. On view in the Chelsea gallery from February 24 through April 7, 2007, the exhibition unveils Kurland’s new series of color photographs of mothers and their young children. To photograph this series, Kurland drove across the country while living in a van with her one-year old son. She began in New York City and made her way across the southern U.S. toward the Pacific Northwest.
Seth Casteel / Underwater Dogs / Underwater Puppies Underwater Dogs blu_source/gallery.php?curr_page=1&sec_id=144&gal_id=22&gal_type=&gal_name=Underwater+Dogs Claire Rosen's Striking Portraits of Birds Birds of a Feather by NYC-based Claire Rosen, is a portrait series of live birds ranging from the common Parakeet to the exotic Hyacinth Macaw. The birds are posed against complimentary vintage looking wallpaper to encourage optical illusion and visual blending. At the time Rosen had just finished a series of taxidermy animal still life images for a residency in upstate New York at the Millbrook School.
Gareth McConnell — Alison Green Can pain be represented in a photograph? Can it be seen in a photograph of a flower? I think so. Flowers are, of course, deeply symbolic of renewal. Their beauty is bound up in the knowledge that it is momentary. Beauty pierces your heart because it is painful.
Camera Lucida (book) In a deeply personal discussion of the lasting emotional effect of certain photographs, Barthes considers photography as asymbolic, irreducible to the codes of language or culture, acting on the body as much as on the mind. The book develops the twin concepts of studium and punctum: studium denoting the cultural, linguistic, and political interpretation of a photograph, punctum denoting the wounding, personally touching detail which establishes a direct relationship with the object or person within it. Camera Lucida, along with Susan Sontag's On Photography, was one of the most important early academic books of criticism and theorization on photography. Neither writer was a photographer, however, and both works have been much criticised since the 1990s. Nevertheless, it was by no means Barthes' earliest approach to the subject.
The Pictures Generation Young artists who came of age in the early 1970s were greeted by an America suffused with disillusionment from dashed hopes for political and social transformation to the continuation of the Vietnam War and the looming Watergate crisis. The utopian promise of the counterculture had devolved into a commercialized pastiche of rebellious stances prepackaged for consumption, and the national mood was one of catatonic shell-shock in response to wildly accelerated historical change, from the sexual revolution to race riots and assassinations. What these fledgling artists did have fully to themselves was the sea of images into which they were born—the media culture of movies and television, popular music, and magazines that to them constituted a sort of fifth element or a prevailing kind of weather.