Artists: week 5 two

Wolfgang Tillmans

Color, lidding line, different items and light.

Light, lines and color.

Wolfgang Tillmans was born on 16th August in Remscheid, Germany. He lived and worked in Hamburg at the end of the 1980s before moving to England. He studied at Bournemouth and Poole College of Art from 1990 to 1992.

Tillmans is mainly known for his use of multiple photographic genres and his unique gallery presentations and his practice has also extended to video.

Since the mid-1980s, Wolfgang Tillmans has reinterpreted representational genres from portraiture to still life to landscape through the medium of photography. He employs a presentational practice that engages the dynamics of space, varying the size of his photographs based on the specific spatial setting of a venue and producing them as large inkjet prints and c-type-prints in multiple sizes. First recognized in the early 1990s for photographs of friends and street subculture he has developed a highly distinctive style of image making that freely embraces a broad range of subjects—from experiences of the everyday, the homo-erotic snapshot, to abstractions that result from experiments with the photographic process.

His exhibition strategies are unique and distinctive, and have changed the way in which photographic images are read and received in the exhibition context. An aspect of his artistic practice is to assume a curatorial role—he creates configurations with his photographs that draw formal, symbolic and ephemeral connections. His installations encourage active audience engagement and ask viewers to consider their own experiences within Tillmans’ visual world.

One of Tillmans' other chief modes of presentation is through the book form, and his numerous collections (see bibliography below) offer both extended studies of specific artistic interests such as in the book Concorde, while other books function in a way similar to his gallery installations and include images from several bodies of work. Tillmans won the Turner Prize in 2000. He is the first artist working with photography at the center of his practice to have won the Turner Prize and as well the first non-British citizen to have done so.

Since 2006 Wolfgang Tillmans has run a exhibition space below his studio in London called Between Bridges.

Artists: week 5 one

WILLIAM EGGLESTON’S SHIT!

American master of analog color photography William Eggleston shot this photo of his camera bag for the June issue of the Wall St Journal. This retrofitted leather number is just one of his three camera-filled bags. This one contains 13 different Leica cameras and a few Canons. Photography is expensive.

In this photo had so many lines and a lot money for this much camera.

I like this photo very much, the light from this photo was the best.

DT1 week 5 exercises

 Use the magnetic tool to select the figure in this image, delete the background and replace with a color that compliments the colors in the figure.

 Change the open eyes to close eyes, with magnetic tool.

 Use the quick selection tool to make selection of the sky. Using the lasso tool , changing to darken sky.

Delete the background and replace with a color that compliments the colors in the figure.

week 4 shooting outside school

• Aperture:  ƒ/2.8
• Camera: Canon 5Diii
• Taken: 15 Aug, 2014
• Focal length: 24mm-70mm
• ISO: 100
• Shutter speed: 1/125

After change the background at Camera Raw to all black, i just want showing the light, that the feeling in the dark night of sky. There are flying in the dream.

• Aperture:  ƒ/2.8
• Camera: Canon 5Diii
• Taken: 15 Aug, 2014
• Focal length: 24mm-70mm
• ISO: 250
• Shutter speed: 1/60

Why I'm chocie this photo, because the different of the green color in this photo, and make the lizard is outstanding.

DT 1 Artists week 3 two

Chantal Faust
born Australia 1980
Lap Milk
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist

 Chantal Faust
born Australia 1980
Waiting
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist

“Drawing on MGA’s collection of Australian photographs, Photographic abstractions highlights the work of 33 Australian artists who use photography to achieve abstract effects. Ranging from modernist geometric abstraction and the psychedelic experiments and conceptual projects of the 1970s, through to recent explorations of pixelated pictorial space, this exhibition surveys a rich history of abstract Australian art photography. Photography is traditionally recognised for its ability to depict, record and document the world. However, this exhibition sets out to challenge these assumptions. As co-curator of the exhibition and MGA Curator Stephen Zagala states, “The artists in this exhibition are less concerned with documenting the world and more interested in engaging the senses, exciting the imagination and making the ordinary appear extraordinary.”
Some artists have eliminated the camera altogether, preferring the effects that can be achieved with photograms and digital scans. Other artists have experimented with multiple exposures, mirrored images, irregular lenses and the printing of the usually discarded stubs of negatives. Co-curator and MGA Curatorial Assistant Stella Loftus-Hills says, “Photography has always been tied to abstraction. Some of the first photographs ever produced were abstract and subsequent photographers have sought out abstract compositions in their work.”
One highlight of the exhibition is a selection of works by the iconic Australian photographer David Moore, who experimented with abstract photography alongside his more well-known figurative work. In Moore’s Blue collage (1983) the process of cutting bands of colour from existing photographs to create a new composition celebrates the artist’s imagination above and beyond the camera’s ability to capture content.
Artists include Andrew Browne, John Cato, Jo Daniell, John Delacour, Peter Elliston, Joyce Evans, Chantel Faust, Susan Fereday, Anthony Figallo, George Gittoes, John Gollings, Graeme Hare, Melinda Harper, Paul Knight, Peter Lambropoulos, Bruno Leti, Anne MacDonald, David Moore, Grant Mudford, Harry Nankin, Ewa Narkiewicz, John Nixon, Rose Nolan, Jozef Stanislaw Ostoja-Kotkowski, Robert Owen, Wes Placek, Susan Purdy, Scott Redford, Jacky Redgate, Wolfgang Sievers, David Stephenson, Mark Strizic and Rick Wood.”

DT 1 Artists week 3 one

Usually when I see an artist (particularly student artists) working with collage I can’t quite shake off the feeling that they’re being lazy.
I’m sure this stems from far too many camp collaging experiences where we just smothered the covers of our journals with chopped up magazines and modge podge, and I also have the nagging feeling that it’s because many of my peers actually are being lazy (I’ve seen far too many half-baked collages thrown together hours before a critique). Collage always struck me as something that may turn out looking wonderful but often lacking in meaning and depth. Appropriating the work of others as the only means of expression in your artwork feels too similar to so many Tumblrs with collage acting as the art world’s reblogging feature.
So when I see Martha Rosler’s work I’m always pleasantly surprised. It goes against all of my preconceived notions about collage (which I’m working on. Sorry to all of those out there who love collage, I’m sure your work is wonderful!). Her work has an emotional value that it might not have in any other medium. By using pre made images Rosler is manipulating the work of popular society into a form of social activism. For example, in her most well known series, Bringing the War Home: House Beautiful, Rosler appropriates images found in homemaking women’s magazines of the period and juxtaposes them with violent imagery from the Vietnam war.

 "First Lady (Pat Nixon)" (1967-72)

"Cleaning the Drapes" (1967-72)

Interestingly, Rosler has reprised this body of work, applying the same method of juxtaposition to images from current American women and lifestyle magazines and the war in Iraq. Some critics feel that this shows a lack of imagination and innovation on Rosler’s part, but others (including myself) find it interesting that Rosler is examining today’s events and today’s media imagery with the same eye as in the late 60′s and early 7o’s. The similarities between the two series of images is uncanny. The two bodies of work seem to meld together, and barring the advances in technology could be part of the same set of work.

Artists: week 4 two

Karl Blossfeldt (June 13, 1865 – December 9, 1932 - age 67) was a German photographer, sculptor, teacher, and artist who worked in Berlin, Germany. He is best known for his close-up photographs of plants and living things, published in 1929 as, Urformen der Kunst, He was inspired, as was his father, by nature and the way in which plants grow. He believed that 'the plant must be valued as a totally artistic and architectural structure.
Blossfeldt made many of his photographs with a homemade camera that could magnify the subject up to thirty times its size, revealing details within a plant's natural structure. Appointed a teaching post at the Institute of Royal Arts Museum in 1898 (and where he remained until 1930), he established an archive for his photographs. Blossfeldt never received formal training in photography. Blossfeldt developed a series of homemade cameras that allowed him to photograph plant surfaces in unprecedented magnified detail. This reflected his enduring interest in the repetitive patterns found in nature's textures and forms.

 

Ranke der weißen Zaunrübe 

(39,5 x 27,5 cm)

2011

 Samenkapsel der Blumenbachia

( 39,5 x 27,5 cm)

2012

Kohlkratzdistel 

 (39,5 x 27,5 cm)

2012