1. showslow:

    Paintings by JW Jeong | http://jw-jeong.deviantart.com

    (via nomsnomnom)

     
  2. heissogoodlooking:

    This piece was primarily a trust exercise, in which she told viewers she would not move for six hours no matter what they did to her.  She placed 72 objects one could use in pleasing or destructive ways, ranging from flowers and a feather boa to a knife and a loaded pistol, on a table near her and invited the viewers to use them on her however they wanted. Initially, Abramović said, viewers were peaceful and timid, but it escalated to violence quickly.  “The experience I learned was that … if you leave decision to the public, you can be killed… I felt really violated: they cut my clothes, stuck rose thorns in my stomach, one person aimed the gun at my head, and another took it away. It created an aggressive atmosphere. After exactly 6 hours, as planned, I stood up and started walking toward the public. Everyone ran away, escaping an actual confrontation.” 

    (Source: andrewfishman, via nomsnomnom)

     
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  4. phil-irish-artist:

    By copyrighting his property as an artwork, he has prevented oil companies from drilling on it.

    Peter Von Tiesenhausen has developed artworks all over his property in northern Alberta.  There’s a boat woven from sticks that is gradually being reclaimed by the land; there is a fence that he adds to each year of his life, and there are many “watching” trees, with eyes scored into their bark.

    Oil interests pester him continually about drilling on his land.  His repeated rebuffing of their advances lead them to move toward arbitration.  They made it very clear that he only owned the top 6 inches of soil, and they had rights to anything underneath.  He then, off the top of his head, threatened them that he would sue damages if they disturbed his 6 inches, for the entire property is an artwork.  Any disturbance would compromise the work, and he would sue.

    Immediately after that meeting, he called a lawyer (who is also an art collector) and asked if his intuitive threat would actually hold legally.  The lawyer visited, saw the scope of the work on the property, and wrote a document protecting the artwork.

    The oil companies have kept their distance ever since.

    This is but one example of Peter’s ability to negotiate quickly on his feet, and to find solutions that defy expectations.

    (via loveyourchaos)

     
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  6. aquaticwonder:

    My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear. ” — Crewdson

    (via mentheboots)

     
  7. rachelpalmer:

    Samantha Keely Smith

    (Source: wasbella102, via wasalladream)

     
  8. orchardjournal:

    “In the exercise of trying to say the old thing fresh again, every week or every year, you learn,” he said. “Pure and simple. You keep coming back to the problem, and you keep touching it and caressing it, and thinking about it, and in a way loving it. You love the problem.”

    ~emmet gowin

    (via iansherlockxvx)

     
  9. likeafieldmouse:

    Francis Alys - Sometimes Making Something Leads to Nothing (1997)

    (via iansherlockxvx)

     
  10. mullitover:

    JONATHAN CHERRY: What did you want to be growing up?

    ELLIE DAVIES: I wanted to be a sculptor. I got my own welding kit for my 16th Birthday, and made metal welded sculptures in the garden and in the art room at school. I was very lucky that my parents and my art teachers were very supportive and encouraging. It was an exciting time as I discovered new creative possibilities, often making studies in pastel, then maquettes in clay, and finally working in metal. I loved this long process and I think my photography now works in a similar way; from the making, to the capturing, retouching and finally printing and exhibiting.

    JC: Who or what is inspiring you at the moment?

    ED: I’ve just been to visit some forests and crags in The Mendips and Cheddar Gorge near Bristol in the South West of the UK. My head is filled with new possibilities. I often find inspiration from walking and seeing new landscapes to work in, my ideas come from the landscape itself and seeing how I can work within it. I’m really looking forward to making new work in that part of the world.

    JC: What are you up to right now?

    ED: I am still working on my newest series called Between the Trees. I am off to the New Forest in the South of England in a couple of weeks to photography a stand of huge Oak trees bordering a large clearing with a covering of silver Oak Moss on the outer branches and twigs. I plan to make a series of images of these trees which may form a body of work that either sits alongside Between the Trees or may join the series.

    JC: Have you had mentors along the way?

    ED: I had a fantastic dark-room printing mentor called Melvin Cambettie Davies at Master Mono in London. He let me come in and print my college work from London College of Communication, and encouraged me to try all kinds of interesting papers and processes.

    JC: Where are you based right now and how is it shaping you?

    ED: I’m based in London but I travel regularly to the New Forest and Dorset to make work. I am a climber so I often combine climbing trips with making new work. My Gloaming series was made in a pine plantation in Plas Y Brenin in North Wales. I was there climbing with friends and discovered this incredibly atmospheric moss-carpeted forest so I went back at the end of each day climbing and made that series of work as the sun set. It felt very spooky and remote after dark though!

    JC: One piece of advice to photography graduates?

    ED: Stick together. Form groups to ‘crit’ each-other’s work and exhibit together. You will need to build your CV and it can be hard to get exhibitions straight away so pop-up shows and group shows in cheap spaces with fellow graduates is a great way to start to begin this process and to learn about exhibiting. Its hard when you leave college to find your place in the world as an artist so its great to have the support of your colleagues. When I left college I was part of Latitude Photographers who are all graduates of the London College of Communication Photography MA from 2007/2008.

    I am also a member of Tripod photographic group which was set up by Miranda Gavin (Hotshoe Magazine) and Wendy Pye, photographer and Lecturer. Also, London Independent Photography and London Photographic Association.

    JC: If all else fails - what is your plan B?

    ED: I don’t have a Plan B yet, I’m working hard to make this work, it’s my life and my passion so I look ahead and keep working and I hope I never have to think of a Plan B.

    JC: Is it important to you to be a part of a creative community?

    ED: It’s very important, I work alone in the woods making my work, and I have a studio at home, so a creative community is essential to feed my creativity and be part of the world outside the woods.

    @mullitovercc

    (via iansherlockxvx)