Coup de cœur pour la nouvelle série « Edge » de Mikko Lagerstedt, un photographe finlandais qui capture des images d’une incroyable beauté. Ce dernier nous propose des clichés d’horizons et de paysages à travers les endroits les plus reculés de la Finlande. A découvrir dans la suite de l’article.
Voici la série de photographies Nature Humaine dans des lieux ordinaires où sont présentés des animaux sauvages, soulignant que le danger et les prédateurs peuvent être partout. Un travail de Samuel Guigues et du studio « La souris sur le gateau » qui représente nos angoisses collectives liées à la ville.
Après la présentation des images surréalistes de Josh Adamski, voici une série de clichés de bâtiments prises par cet artiste talentueux. Avec ces images en noir et blanc, ce dernier nous propose de splendides photographies prises depuis le pied de buildings imposants. A découvrir dans la suite.
Le photographe Brian Yen, plus connu sous le pseudonyme de Briyen capture avec talent la métropole fourmillante d’Hong Kong. Avec de splendides photographies à longue exposition, ce dernier parvient à retranscrire avec talent le mouvement dans cette ville incroyable. Plus dans la suite.
La 48ème édition de Veolia Environmental Wildlife Photographer of the Year Competition avec le National History Museum of London ont annoncés les vainqueurs du « 2012 Wildlife Photography ». Voici une sélection révélant le talent de différents photographes capturant la faune et la flore avec beauté et poésie.
Better Together. Fernando and Humberto Campana’s “Panda Banquete” and Henri Michaux’s “Composition” (1959) are among the artfully juxtaposed offerings in “Moss, the Auction.”
“In Sonnet XVIII, Shakespeare famously compared his lover to a summer’s day, not to other lovers he might have had or could have had,” notes Murray Moss. “In this auction, I propose for a moment that you compare Maarten Baas’s sculpted “Clay” table to a bronze torso by Alberto Giacometti, and not to other tables. Apples to Oranges.” In this case, the “apple”—a.k.a. “Unique Torse de femme”—is estimated to sell for between $2 million and $3 million when it goes on the block later this morning at Phillips de Pury in the Moss sale to end all Moss sales.
The 120 lots in “MOSS: Dialogues Between Art & Design,” showcased in one of the most stunning catalogues in recent memory, are drawn primarily from the private collection of Moss and Franklin Getchell as well as the studios of designers who have had longstanding relationships with the pair’s beloved SoHo design emporium, which they closed earlier this year. (Some works, including the Giacometti, come via ArtAssure.) The Moss gang is all here—Baas, Hella Jongerius, Studio Job, Marcel Wanders, the Campanas, and more—looking as fresh as ever alongside the work of everyone from Gio Ponti and Louise Nevelson to George Condo and Candida Hofer. Meanwhile, Moss and Getchell’s casket carrier coffee table (estimated to sell for between $6,000 and $8,000) is sure to be a hit at your Halloween party.
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Bridget Collins est une photographe américaine originaire de Minneapolis dans le Minnesota. Avec des clichés s’amusant à souligner des petits détails étranges et insolites, ses photographies permettent de se plonger dans un monde où les objets dialoguent avec l’environnement. Plus d’images ans la suite.
“ICP [The International Center of Photography] is a place I’ve known about since I was a little kid. My mom was involved with exhibitions. Oddly enough, I met Kenneth Anger in their galleries. So there’s a kind of full circle…
ICP is an institution dedicated broadly to the image or to the image broadly. It’s really both. I want to expand the notion of the way we look at image making, and images as cultural currency, as a currency for communication, and to make ICP the hub for discourses about the image, and also for commissioning work as well as exhibiting work. And so my sense is to make a cultural institution that has that as its legacy is kind of critical, especially in this century. I would like to look at the image in a more catholic way, a broader way.
To be an institution that’s based in New York, but that has global reach, I want that to be really critical to its ethos.”
–Mark Robbins, the new executive director of ICP, in an interview with William Menking that appears in the October 3 issue of The Architect’s Newspaper
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Our roots in the rusty husk that is Motown make us suckers for the boom in photo projects that document the city’s fading glory [cue “(Nothing But) Flowers“]. Leading the pack, in our view, is Julia Reyes Taubman‘s Detroit: 138 Square Miles, published last December by the city’s Museum of Contemporary Art (MOCAD), but for a perspective that tends more toward the hauntingly gorgeous and immersive, no one does it better than Andrew Moore. His 2008-2009 “Detroit Disassembled” photo series is the subject of an exhibition on view through February 13, 2013 at the National Building Museum in Washington, D.C. (running concurrently is “Detroit Is No Dry Bones,” a show of photos Camilo José Vergara). In this photo, Moore captures the Surrealist afterlife of a clock that once measured the days of students at Detroit’s Cass Tech High School.
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Dans le cadre d’une résidence d’artiste pour le Joshua Tree National Park en Californie situé à la frontière avec le Mexique, Daniel Kukla a imaginé cette série de clichés appelée « The Edge Effect ». Visuellement très réussie, la série du photographe américain s’intéressant à l’effet mirroir est à découvrir dans la suite.
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