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- New Yorker November 14th, Framed Print by Jean-Jacques Sempe
Sourced from the Internet and cut freehand from printer paper, each element is inserted in a topography that makes little effort to disguise its seams. Plants sport skeins of hot glue; vases build up from clipped geometries; and apples resemble disused origami.
Paper figures as a material at once volumetric and planar, drawn into space through facets and folds or collapsed into flatness by an abruptly scissored edge. With these elaborately collaged still-lifes of material sourced from the Internet and reconstructed in 3-D, the Brooklyn-based photographer continues to make some of the most dazzling and disorienting pictures around. Except for two multilayered silhouette portraits of young women, Gordon's subjects are vividly colored tabletop arrangements of flowers, fruit, ceramic vases, and a stray lobster or zucchini on patterned backdrops in the Matisse mode.
The confusion between the real and the constructed is almost impossible to resolve; examined closely, the most straightforward elements are revealed as clever fictions, both shrewd and entertaining. Through Feb. A disembodied hand. A peach pit. A blue eye. A lily. He takes the most classical of artistic forms and reinvents them.
What if the Internet had a body? Daniel Gordon b. The artist's paper tableaus, rich in vibrant colors and vivid patterns, are transformed in the process of making a picture with large format cameras. Daniel Gordon's work has a gestural quality. It's not a Post-Modernism sensibility nor does it offer-up a deliberately impoverished reference to the original source inspiration.
His is in many ways a painterly eye which finds photographic equivalences for the brush stroke, the density of paint, the inflection of light to depict the natural world and the human form May Gordon has called his studio a "physical manifestation of the Web. Some of the images he cuts and tears apart are naturalistic, others have a glossy sheen and vibrant colors that create an illusion of slick digital effects, yet the overall quality of the construction announces, "Someone made this.
In fact, Gordon's deliberately gauche images look like the antithesis of Crewdson and diCorcia's polished work - but they also probe the boundaries between fact and fiction, questioning the veracity of photography and the nature of it's link with reality Improvisation is central to his constructions, which combine newly found images with the scraps of old, previously used pictures, and often feature grotesque, cartoonish anatomies.
Gordon constructs assemblages out of magazines and then photographs the results in lurid color. The portrait busts, which dominate his show, are unstable patchworks of facial features, hanks of hair, bits of blue-, red-, and peach-colored skin, and other random body parts that draw upon Romare Bearden, Hannah Hoch, and punk graphics.
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Weird beauty and cartoon grotesquerie flip back and forth like a lenticular image, keeping us happily off-kilter. The woman they form is scarred with seams and rifts. One of her eyes is bigger and more brightly blue. Her hair is blonde and thickly pixelated in some spots, softly unfocused and brown in others. Working Everywhere from Photoshop to the woodshop, a growing number of photographers shoot, appropriate, manipulate, print, paint, and sculpt their works, making objects that stretch the traditional definition of the medium.
I can fly. I just can't do it for very long. I began taking photographs of myself in flight about ten years ago, when digital cameras were becoming easily available. Because digital images are so simple to alter on a computer, I wanted instead to manipulate photos the old-fashioned way: light through a lens exposing an image on film. This allowed me to make pictures that were at once documents of the truth and a visual fiction. Collage historically has used simultaneous viewing to belie the notion that photography is truthful.
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Multiple photographs juxtaposed present multiple truths. The Internet, however, has scrambled the way we interpret the stream of images we encounter there. If I could choose one superpower, it would be flying. My new three-year-old acquaintance Adam, who was wearing Superman pajamas complete with cape when I met him the other night, agrees. As he flitted around his apartment, cape flying, he seemed almost to soar. Regrettably, I never had Superman pajamas, but I spent many a summer day dashing to the edge of the swimming hole near my home.
For five years, Gordon roamed the lush countryside of the Hudson Valley, staking out pretty take-off spots. Armed with nothing but courage, his camera, and long underwear, he spent to in New York's Hudson Valley and Northern California's Bay Area in front of his tripod shooting his leaps into the air in ths of a second.
Gordon's fusion of landscape photography and performance art awakens nascent superhero fantasies that have long been crushed by the constraints of reality.
Tag: the new yorker
And he does it all without the help of Photoshop. I can fly, just not very well. The pictures are modest in scale and most appear, at first glance, to be rural landscapes: lush green fields, hills covered with wildflowers, a grassy lot patched with snow. But each also depicts a figure suspended in midair—it's Gordon himself, attempting to fly like Superman. Shirtless and in long johns, the artist is a diver prepared for a belly flop, but for this frozen moment he's in a state of ecstatic abandon, and we're right there with him. In a few particularly lovely pictures, Gordon is no more than a tiny speck on the distant horizon, no bigger than a fly.
Through Nov. The latest installment of MOM's annual "New Photography" exhibition is the best one in years, and not just because it's the biggest.
New Yorker November 14th, Framed Print by Jean-Jacques Sempe
For other artists photography is the final stage of a process that might be called sculpture or collage in a different context. Before he pulls out the camera, Daniel Gordon makes crude figurative sculptures from cut paper and Internet printouts. The body often a female nude slips back and forth between two and three dimensions. Talia Chetrit: Where does the imagery in your collage work come from?
Are they based on moments from your life or are they fictional?
And would you consider these to be tableaus or do the images build a narrative? Daniel Gordon: I make my pictures alone in my studio, but I view my work as a peculiar collaboration between myself, and what I've chosen as my material: Images found on the Internet that I print and construct into a 3-dimensional tableau, that is ultimately photographed.
This process presents limitations as well as unexpected direction and it is in this way that I don't anticipate a pictures meaning or formal qualities before I begin to make it. Instead, I let the criteria of the process guide the subject matter, discovering what the work is about as it comes to life. So I guess I'd say that even if the imagery I'm attempting to depict is taken directly from my life experience, the process of making allows for a kind of improvisation that often takes the construction to a fictional place.
As far as a narrative is concerned, I'm more interested in creating a mood or playing with a particular theme than I am in creating a story. I've been thinking a lot lately about how meaning can be made not only in each particular image, but in the space between them—I think that's where the strongest indication of a narrative is in my work For me though, it's the things that give away the illusion that complicate things, and make the pictures more interesting. The New Yorker , July 29, The New Yorker , April 17, The New Yorker , August 6, The New Yorker , June 28, The New Yorker , June 4, The New Yorker , September 26, The New Yorker , May 26, The New Yorker , January 27, The New Yorker , January 17, The New Yorker , July 26, The New Yorker , April 5, The New Yorker , December 14, The New Yorker , June 23, The New Yorker , June 1, The New Yorker , March 30, The New Yorker , January 26, The New Yorker , June 30, The New Yorker , December 10, The New Yorker , April 30, The New Yorker , October 9, The New Yorker , November 14, The New Yorker , April 4, The New Yorker , December 6, The New Yorker , January 12, The New Yorker , May 5, The New Yorker , March 11, The New Yorker , January 28,