Juxtaposition as commentary
This crossed my dash attributed to William Eggleston.
On the one hand I can understand why someone would think that. It’s an image of a piece with Eggleston’s oeuvre–fixated upon seeing the beauty of colors despite the often numbing interference of the mundane.
There are still notable differences anyone who has spent any sort of time with Eggleston’s work really ought to have caught: namely, Eggleston doesn’t really use a strobe all that often and although virtually all of his work trades in sublimated sexuality, the above is a little too direct in it’s perverse punning to be a lost Eggleston.
Radelia’s image is fascinating though because it’s a rare work that both stands on its own to feet but also holds up well when compared with the work from which it clearly draws inspiration. That’s not a small thing at all.
Hunny Bummy – Comfort Zone (2015)
These images are presented as a diptych even though they do not function as one.
They’re solid; neither composition holds up under scrutiny–the left appears symmetrical until you look at it a second time and discover it’s really not and that the positioning of he arms is actually makes it even more glaring; the wawkerjawed-ness of the second one is even more obvious but here the position of the arms actually de-emphasizes it ever so slightly.
Either way, together they round up to good because of the thoughtful use of color.
What’s interesting about the relationship between them not being diptypical (hurr durr) is that they imply a continuum between concept and execution.
The left image is simple, clear, the color pops and as a result it’s absolutely memorable. The right image uses negative space to draw entirely undue attention to the use of color–it’s like screaming hey, everyone look at how great I am at using color. However, the slight shift in the position of the arms on the right is utterly fucking sublime. (Also, you get water drops splattered on the side of the tub highlighted by the light pooling on the side of the tub.)
Split the difference in the distance between the left and right, make sure you line up the lines of the tile grout with your frame edge and include just a hint of the bathroom floor and keep the pose on the right and you’d have a great image.
Eric Phillips – Untitled (2010)
This image hails from a series called Washable Sins and three or four of the images wouldn’t have appeared out of place in Killip’s project–which is (I assure you) to pay Phillips’ work quite the compliment.
However, as much as I like this image–it’s a sterling example of how a dick pic can be classy in execution–my immediate association sends me in rather a different direction than Washable Sins; and if I’m honest, unfortunately, the sort of glossy homoeroticism Phillips work insists upon is neither as interesting or edifying as Killip’s precocious presentation.
(Also, if I’d only seen this image I’d be willing to give it the benefit of the doubt w/r/t whether or not it qualifies as #skinnyframebullshit; having seen the rest of the project, Phillips is a profligate skinnyframebullshiter.)
Prue Stent is a 20 year old photo student from Melbourne. The themes of her photography center around femininity and the struggle of identity in women. The color pink is used to represent femininity either physically or emotionally throughout her work.
Her Pink series explores feminine beauty. Stent uses the element of color to raise questions about society’s standard of beauty; breasts, buttocks, and lips are slathered with pink paint to illustrate these commodities are a woman’s own.
found via: http://www.ignant.de/
If this is the future of fine art photography, then Bring. It. On.
Prue Stent = Pure Genius.
This is problematic for the same reasons I took this gorgeous Kodachrome to task.
It’s a teensy bit off balance– the angle of the legs in relation to the lower corners and the uneven grading of the pistachio backdrop; however, I’m unsure whether it’s a lazy approximation on the part of the artist or an expectation that viewer will get the jist instinctively round it up.
Don’t get me wrong, the interplay of colors is LOVELY. (So much so that when it disappeared from my likes before I could post it, wyoh enacted some of her ‘net wizardry and tracked it down from little more than my muddled recollection of it.)
Gomulicki is trained as a designer and painter. His work is fixated on both documentation and vibrant-to-the-point-of-surreality color palates. And I can’t look at this or any of his images without relating them to amandajas’.
I don’t think it’s difficult to see why: Jasnowski is an image maker preoccupied with image making as a mode of design, after all; and she deploys a strikingly similar palate in her work.
But that connection triggers another question: what is the relationship/where is the boundary between image making & design?
And how does any answer inform the question of the purpose of color in image making practice?
Oles Romanyuk – Title Unknown (2014)
This is a wonderful reminder that making great work sometimes demands saying: ideal, schmideal.
For example: this is probably a stop and a half overexposed and shifts her skin tone so that it echos the wall’s magenta.
Her body is emphasized; yet, unlike a lesser image, emphasis does not entail isolation–the wood paneled whatever at the left frame edge, the balloons and the pistachio green blanket all jump up off the picture plane. With the subtle bokeh, a convincing dimensionality manifests.
No matter how killer the colors or compelling the presentation of space, what gets me is the way the image focuses my attention on the feelings this work illicit.
I have a very strong sense that this young woman belongs here–this is her space.
The feeling is something that while I am sure there regardless; but without the nudge, I likely wouldn’t have paused with it long enough to tease out how to articulate it.
I think that is crucial, actually; given the young woman’s posture/expression–crossed arms, head tilted slightly, eye contact–she appears a little uncomfortable.
If she were separate from her surroundings, her discomfort would entail all sort of unsettling implications given her nudity.
Her belonging in this space colors the discomfort with a playfulness. As if the photographer–who is also her lover–begs her to pose nude and despite lingering misgivings, she agrees.
Source: as best as I can tell these six images were likely gathered and arranged by fulme. (The top-center image seems to predate this assemblage.)
In theory, I am a proponent of bricolage.
However, if you are working digitally, there is very little that isn’t at hand for you to use. To me this muddies the already precarious distinction between ‘formal’ collage and MacGyver free association.
I don’t know how to illustrate it except to point to another image that was making the Tumblr rounds back in early October. It’s a really solid idea but the execution is lame brained–half a grapefruit on a white background super-imposed over what looks like the legs of a model wearing a white one-piece American Apparel swimsuit.
On the other hand, the six images above were carefully selected. The similarity in tonal range and luminosity is striking. Further, the arrangement serves to activate the images in different ways, promoting interplay, building and relieving tension by means of line, color, echoing of shape, conceptual mirror, etc.
Highly astute work deserving of recognition.
Work by Oscar Delmar (Watercolor and graphite)
Onomatopoeic words tend to grate on my ears even if I am intrigued by the concept of a word’s sound being its meaning.
Similarly synesthesia fascinated me; although, again, I am less interested in someones seeing the number one as blue than in the fact such an associative experience happens.
These and other word-concepts like them make me wish there were a term indicating a unity between medium and message. It would prove a helpful too for talking about images like this where the medium and the process involved in creating the final image bestows great authenticity to the truth of the message– watercolor, the wet and mess of lips, tongues and teeth & the surreal impression of immediacy, color and texture upon execution that is rendered when the colors dry, respectively.