Post photography – interview with Joan Fontcuberta


Stan VanDerBeek

Ah what a Gem!

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Beginning in the 1960s, Stan VanDerBeek worked with multiple projections on movable screens. In his live shows with film, video and computer graphics, he created high visual density comparable to the contemporary music video, which he then developed into computer animation. These experiments of high density in collage forms were conducted through image processing and mark the transition to computer graphics in ways similar to the chroma key experiments by Ed Emshwiller. As early as the 1960s, VanDerBeek managed to create multimedia performances using computer animation with the support of Bell Telephone Laboratories. “In the 1970s, he constructed a ‘Movie-Drome’ in Stony Point, New York, which was an audiovisual laboratory for the projection of film, dance, magic theatre, sound and other visual effects. His multimedia experiments included movie murals, projection systems, planetarium events and the exploration of early computer graphics and image-processing systems.” (1). In VanDerBeek’s video experiments, pulsating…

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Immanence – machines help us to see further

"God through the machine" by Riley Claxton

“God through the machine” by Riley Claxton

Immanence refers to those philosophical and metaphysical theories of divine presence in which the divine encompasses or is manifested in the material world. Immanence is usually applied in monotheistic, pantheistic, pandeistic, or panentheistic faiths to suggest that the spiritual world permeates the mundane

The Pond – John Gossage

The narrative landscapes of John Gossage – this work strikes a chord with some work I am doing at the moment “documenting” a nature reserve in a green belt between a suburban neighbour-hood and an industrial area. Upon seeing this (book above) I see we have a penchant for similar terrain and while he is shooting in black n white I have chosen colour – but that is not important rather it is the sense of searching within the pictures that I see a common connection.

Gosaage seems to have a plaintive, mournful, almost heart rendering regard for this landscape. While at the same time it seems this very land is on the verge of forgetting the memories that Gossage’s camera has caught the last whisps of.

But is it Gossage who is capturing these images or is the land offering them up, giving them to the camera, after all what other photos could be taken from such a place.

Likewise the landscape I am documenting between the suburbs and an industrial area  (a sort of liminal zone) as you can imagine is not in the best shape. However it is in these places I find the solace of mystery and of things past. It takes me back to a child hood where I used to ramble down by the river bank, swim take car inner tubes for a ride on the river and generally fossick around.

This is also the land that Gossage is portraying and it is sitting some where behind the the thin veil of his black n white film and the absence of humans. Not that I take issue with the absence of humans but this certainly heightens the sense of decay.

Glaister Ennor Graduate Art Awards

Rhubarb Pyjamas

Glaister Ennor Art AwardsLeft to right, top to bottom: Sione Faletau; Joanna Neumegen; Dan Nash; Stephen Ellis; Ryder Jones; Brent Hayward; Rebecca Frogley; Elle Anderson; Justine Giles; Alexander Bartleet; Anne-Sophie Adelys; Riley Claxton; Alexa Mickell; Amy Blinkhorne; Lucy Meyle; Kerryanne Wilson

The Glaister Ennor Graduate Art Awards evening was on Tuesday and Whitecliffe’s own Riley Claxton and Alexa Mickell both received awards:  Riley won the Barfoot & Thompson award, and Alexa won the Glaister Ennor special award selected by the Glaister Ennor staff.

The overall award went to Stephen Ellis of Unitec.

The Glaister Ennor Art Awards exhibition is on at Sanderson Contemporary, Newmarket from Wednesday 27th to Sunday 31st May.

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Todd Hido: A master printer

This is Todd Hido A master printer finding his way home….There cant be to many photographers who still print there own work in colour! I enjoy photographing at night also, there is certainly an ambiance, a stillness that is suited to this contemplative dreamy work. Plus having the sun gone it is perfect for the probing eye of the camera, allowing it to search for or create meaning in an other wise everyday place.