Je Suis une Bande de Jeunes

Work from Picture Sculpture.

“It is a mix of pictures which we are the author taken in the last few years. This book reveals the tight frontier and the close relationship between mediums nowadays.
What is the role of photography, in parralel to documentary photography?
What is the difference between a sculpture itself and a picture of a sculpture?
Where is the challenge of making and showing object composition, still life nowadays?
Could a sculpture be seen through a picture and not existing as such?
This book questions all those ideas and show the irony and the fascination for what surround us and what makes our everyday life.
PICTURE SCULPTURE is composed of a serie of 93 successives pictures around this thinkings…” – text via manystuff.org.

Cory Arcangel

Work from his current exhibition at the Hamburger Bahnhof in Berlin.

“The New York-based artist Cory Arcangel (* 1978) uses his work to explore the practices and myths that have built up around Internet culture, pop music and experimental music. In processing visual and audio material for his works, he not only uses and adapts available computer programmes but also develops his own programming to do so.

Far from being merely interested in current trends in the entertainment industry and in our everyday use of the Internet, the artist also highlights the rapid obsolescence of technologies and codes. Cory Archangel mixes and matches his works, each time presenting them in a new constellation to each other and applying them in different settings. Depending on the situation, for instance, he combines older and more recent video works with sculptural works, while the material for a music performance may also reappear in a video installation or in an Internet project.” – Hamburger Bahnhof

Emilie Halpern

Work from her oeuvre.

“Emilie Halpern’s new exhibition of sculpture and photography at Pepin Moore is both poetic and diffuse, tracing somewhat mystical connections between astronomy, geography and ancientEgyptian mythology. Halpern has a knack for quiet,elegant pieces that gesture toward larger existential questions, but in this case she seems to be stretching a bit for big ideas that don’t quite come together. The show is divided into two rooms, one representing the “East” of ancient Egypt, thought tobe the birthplace of the sun, and one symbolizing the “West,” or the origin of darkness. This Manichaean scheme is only gleaned from the press release; although the two rooms certainly feel different, the only explicit reference to Egypt is a pair of identical photographs of the top of a pyramid that align to form an inky black diamond — the afterlife mirrored and turned on its head…” – excerpt from Sharon Mizota’s review in the LA Times.

Michael Rolph

Work from his oeuvre.

“At the heart of all my work there is an incurable focus on questioning ‘beauty’ and ‘reality’, with many of the images celebrating the banal. In a failed attempt to explain my thought process:

Often we think without words, not just words spoken, but not even words in one’s head.

In its simplest form, I photograph things that I’m drawn to, with the images conveniently transcending any explanation in written form.” – Michael Rolph

Jojo Luzhou Li

Work from her oeuvre.

“My sculpture is sometimes really a photo and my photo is actually a painting.  By this I mean that my work investigates the realm between image and object, confusing and hopefully destabilizing the lines between photographic image, painterly gesture, and three-dimensional space and the various kinds of information they convey.  Is a hat a photograph, a table, a tablecloth?” – Jojo Li

Micah Schippa

Work from vapor. Also see No New Info.

“I am interested in translation between analog & digital, hand and machine.” – Micah Schippa

Clint Baclawski

Work from his oeuvre.

“My most current work depicts a spectacular American culture saturated with large-scale color imagery, consumerism, and forward momentum. The attractions featured in this series are both novel and commonplace, including parades, reenactments, fairs, and trade shows in ordinary communities around our country every day. Each event is transitory, challenging me to capture a single image before that scene is forever altered. Photographing multiple frames at each location allows me to draw out fragmented cinematic feeling narratives between the subjects and their environments by seamlessly compositing them together.

Defying conventional framing techniques, my photographs appear in large (40x50x12inches), wooden, double-sided (one image on each side), freestanding light boxes. They strive to capture the attention of the fast-paced onlooker in our image-glutted world. Taken out of context and into a gallery setting, I encourage the viewers to experience the work from multiple perspectives. One has to bend, crouch, and circulate the work in order to see its entirety. This movement leads to the discovery that although the two images on either side are the same; one photograph is reversed, thus, horizontally resembling the effects of a mirror. The height restraints of the box are set to the level that spectators on the opposing sides have to face one another as they view the work. This shift from passive reception to active participation mimics the subjects in the photographs.” – Clint Baclawski

Joann Brennan

Work from her oeuvre.

“Joann Brennan has concentrated her photographic work over the past twenty years on the efforts of scientists to maintain the delicate balance between human needs and interests and those of wildlife populations. Human construction often interferes with the less obvious byways of wildlife, cutting animals off from established routes used for migration, mating, or foraging. Air travel, for instance. Primary hazards for our elaborate metal flying machines are the bird that inspired their invention in the first place, and with whom they share the skies. While human beings often project their own form and characteristics on the natural world, imagining that other beasts experience the world as we do, in this case a human form is being used to scare animals away for safety reasons, though to us the inflatable yellow figure is more humorous than threatening.” – text via New Mexico Art Museum.

Pe Lang

Work from his oeuvre

“Pe Lang’s poetic and elegant hand built sculptures combine mechanized systems with new materials to mandate and manifest a different
approach to kinetic movement. Lang realizes performances and creates installations by ingeniously assembling magnetic, electrical and
mechanical devices and even inventing new devices and prototypes. The resulting works are both visually appealing, because of their
elegant and minimal kinetic qualities, but also fascinating for their acoustic features. If chance plays an important role in his works, the
artist playfully manages to balance between order and chaos by controlling the forces involved in his compositions: the precision of the
mechanical devices and the confusion resulted from the collision of the various elements.” – Boris Magrini

via Triangulation

Ron Gilad

Work from Spaces Etc

“Ron Gilad’s hybrid objects combine material wit with aesthetic play; they sit on the fat, delicious line between the abstract and the functional.

Gilad is fascinated with philosophizing about the common objects we live with.

His work, which vary from one-off to limited editions and production pieces, have no “expiration date” and reside in both public and private collections worldwide.

Gilad asks unceasing questions in 3D form and fabricates answers that create an arena for fertile doubt.” – Ron Gilad

via  Triangulation Blog