1. wasalladream:

    (Step one)
    #Printmaking #cyanotype

  2. joe-lc:

    october/ the death of things | photo book release

    "october/the death of things" is a collaboration between photographer, Joe Librandi-Cowan and writer, Eric Hirsh. All images made were inspired by Hirsh’s text, "october/the death of things." The resulting project has been released as a self-published photo book. 


    To purchase the photo book, please email Joe: joelibrandicowan@gmail.com

    The books are $6 local pick up or $8 shipped! 







  3. joe-lc:

    Ralph Eugene Meatyard 

    (Source: peterbohler)

  4. inapropos:

    Trophy, Sewn found photographs, found text, 9 x 9 x 4-1/2, 2000 by Lisa Kokin

    (via joe-lc)

  5. greatleapsideways:

    In our brief conversation, I asked Jason if he was a fan of Wes Anderson, a director whose peripatetic and eccentric sensibilities seem closely aligned to the whimsy of Fulford’s work. There is in both a sense of the Peter Pan – of an effortless and meandering fascination with the world re-written as story, made up wholly of pattern, intrigue and misdirection. In both there is a common irreverence that belies the assiduous craft that their work requires. And yet, finally, in both there is a common joy at the inscrutable pleasures of looking — a joy undiminished by any final expectation of meaning.

    I watched a documentary last week about filmmaker Michelangelo Antonioni, and Robbe-Grillet makes an appearance. He describes what makes Antonioni’s films modern, in contrast to say Hitchcock. In a Hitchcock film, details and scenes are confusing until you get to the end where everything is wrapped up neatly. By the end of the film the meanings are closed. In an Antonioni film, by contrast, details and scenes are straight forward, but as the film progresses the meanings open up. I’ve always responded to work that has a quality like that. It’s like an everlasting gobstopper. But it’s also like life.”

    — from Hotel Oracle: a conversation with Jason Fulford, just published at thegreatleapsideways.com

    (via joespiration)

  6. likeafieldmouse:

    Todd Hido - A Road Divided (published 2010)

    (via blogwoodtree)

  7. sickpage:

    Serrah Russel

    Equivalents is an ongoing series of work where as an act of collage, the artist uses Polaroid film to re-photograph found imagery. Using the simple gesture of cropping, the image is stripped of its original meaning and context and becomes an open landscape for an abstracted narrative.

    (via blogwoodtree)

  8. aerbor:

    Everyone I Have Ever Slept With 1963-1995 - Tracey Emin 

    Everyone I Have Ever Slept With was a tent appliquéd with 102 names of the people she had slept with up to the time of its creation in 1995. The title is often misinterpreted as a euphemism indicating sexual partners and the work termed “a list of all the people that Emin has ever had sex with”, but is in fact intended more inclusively:

    “Some I’d had a shag with in bed or against a wall some I had just slept with, like my grandma. I used to lay in her bed and hold her hand. We used to listen to the radio together and nod off to sleep. You don’t do that with someone you don’t love and don’t care about.”

    The names include family, friends, drinking partners, lovers and even two numbered foetuses. The name of former boyfriend, Billy Childish, could be seen prominently through the tent opening. The tent was square and coloured blue; its shape was reminiscent of the Margate Shell Grotto, with which Emin was very familiar from childhood; inside on the floor of the tent was the text, "With myself, always myself, never forgetting"

    (via cpassikoff)

  9. fer1972:

    Artworks by Truls Espedal

    (via wasalladream)

  10. darksilenceinsuburbia:

    Rafael Gómezbarros

    Casa Tomada


    Installations of hundreds of sculptures representing fifty centimetre long ants take over public buildings. Their bodies are made up by the assembling of two human skull casts as if the Santa Marta-born artist were attempting to summon death in life. 
    Rafael Gómezbarros’ work makes visible the overlooked. His intention is to address the plight of millions of displaced people who constitute the invisible but pervasive mass of immigrants crossing the planet. Buried in the narrative of diaspora lays a tribute to thousands of Colombians who suffered internal displacement and violent deaths as casualties of the armed conflict that wreaked havoc in the country for the most part of the last fifty years. 
    Ants being usually associated with hard labour and a complex social organization are turned into phantasms of the disappeared, ghost like figures that have acquired the capacity to take over national monuments. Gómezbarros previously deployed his legion of ants onto historical buildings such as Quinta de San Pedro Alejandrino – the haçienda where Simón Bolívar spent his final days – as well as Barranquilla’s customs building. 
    In Bogotá, he invaded a commercial gallery with one thousand polyester cast creatures and covered the National Congress’s stone façade, his most meaningful attempt to address the national security policies that endorsed a violent status quo for decades. 
    Entitled Casa Tomada, the work makes a very particular reference to a short story by Argentine writer Julio Cortázar, in which the inhabitants of a large mansion become invaded by elusive presences announced solely by muted sounds. In the context of these public art interventions, the metaphor reminds the viewer what Cortázar himself declared shortly before passing away: unless a country buries its dead, they will always be remembered as ghosts in the attic. 

    Text © Gabriela Salgado

    (via wasalladream)