Nate Larson and Marni Shindelman

Work from Geolocation: Tributes to the Data Stream.

“Each morning we follow strangers through their Twitter updates, becoming intimately involved in their banal daily errands. We imagine ourselves as virtual flâneurs, exploring cities 140 characters at a time through the lives of others. Sometimes we follow these strangers for a day and other times for months, following the ups and downs of their posts to this public venue.

Using publicly available embedded geotag information in the updates, we track the locations of the Twitter users through their GPS coordinates and make a photograph to mark the location in the real world. Each of these photographs is taken on the site of the update and paired with the originating text.” – Nate Larson and Marni Shindelman

Kate Steciw

Work from her oeuvre (and her Tumblr).

“Photographically, and aesthetically, I am interested in making a photograph “other” letting it move beyond the 2D and exist in 3 and even 4D spaces or implied spaces but also juxtaposing the mundane or expected with the altered or intangible.” – Kate Steciw via P.S.1

via i heart photograph

Bill Sullivan

Work from Works 1.

Rephotographed works of LCD screens, etc.

“…These works are included in the sections WORKS 1, WORKS 2, and WORKS 3. Many of these works employed various types of re-photography to create new kinds of optical texture . These works are made up of prints, photographs and works on paper. And they come from such series as Self Portraits with Mirrors, Landscapes, Courts and Things Change. These series continue with many of the same concerns with contrast, tone and texture as the paintings of People I Know.”

David Horvitz

Work from his Photographs from 2009 and a bonus screen capture. Horvitz also has some other fantastic projects/performances/interventions on his website.

All photographs can be seen on this blog.

Printable files (in zip) can be downloaded here.

A selection of 51 photographs from 2009 printed at 4″ x 6″ and contained inside a box.

To produce your own set:

print all 51 photographs at 4″ x 6″ from the zip file linked above (this can be done inexpensively at a drug-store’s photo-lab)
print the list file on a standard sized paper (inside of zip file)
get a box from Paper Presentation: 23 West 18th St., New York, NY 10011. (212) 463-7035. Item information: 65-641 gift box/ jewelry – ux box jade kraft – 6x5x1 – $3.15
put all inside box

Adam Cruces

Work from his YouTube Channel.

Cruces’ oeuvre contains some hilariously self-reflexive videos that are a great snapshot of current trends in contemporary video/net art. His works are referential to many of his contemporaries, the most notable of which is Constant Dullaart. His video of Mary Lou Retton recalls Dullaart’s Stabilized Earthquake or the more recent YouTube phenomenon here. I am still puzzling out what the appeal of his work is, beyond the comfort of nostalgia and the feeling of inclusion that awareness of his references provides. Quite possibly, it is because his practice is highly referential to the internet phenomena and technological applications that I engage with on a daily basis.

Martin Kohout

Work from his oeuvre.

Series of modified videos of people kick-starting their motorbikes, sound of the engine removed. All taken from YouTube.com and put back as a response to the original footage. Second version, 2008.

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One frame from the film Cast-Away (dir. Robert Zemeckis) printed and distributed as a postcard in edition of 1000.

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Video loop of re-edited core scene from the film Blow-up (dir. M. Antonioni). Two characters are missing, lonesome photographer is continuously walking in a circle trajectory passionately taking pictures of the emptied crime scene.

Keith Telfeyan

Work from his oeuvre.

“I believe in the freedom of things, and the energy that moves around and through the world like wind. I create as an act of expression, to assert my pulse, to live. The things I create enter the world as transformed energy, and exist freely. I make pictures that capture something particular that I think and feel, images that function both cathartically and aesthetically. The act of looking – our projected vision – determines so much the way something looks. How much of the qualities that we give things are in those things themselves? I like eliciting truth from banal subjects, as the constant wave of god hides within all matter. It is sensational, I think, to see it underneath the everyday. Or perhaps the everyday itself is simply worth seeing in a new way.” – Keith Feyan (an excerpt from his thesis)

Geoffrey Pugen

Work from his oeuvre.

“In his art, Pugen explores relationships between real and staged performance, the natural and the artificial, and tensions of virtual identity, through altering and manipulating images.
Working with video, film, and photography in the digital realm Pugen renders situations that examine the viewer’s perceptions of how history, documentation, and simulation intersect. In his work, Pugen examines the complexities of interstitial and overlapping relationships between people and nature, imagining worlds where the real and the virtual, the actual and the fictional, the natural and the artificial are compressed through technological saturation.[3] Pugen’s work features images that are manipulated to create incongruous juxtapositions between their visual elements. His work also draws a certain conventional understanding of the photograph into question.[1]” – from Wikipedia (for the first time, and hopefully not the last).

Sarah Palmer

Work from As A Real House.

“The Wild Project is pleased to present As A Real House, the first solo exhibition of photographs by Sarah Palmer. The exhibition culls images from Palmer’s series of the same title, which evolved from previous work that sought memory, lost time, and hints of the absent-present in landscapes, rooms, and objects. As A Real House turns these ideas inward, departing from a critical exploration of the sentimental and the sweet, and moves into darker corners of remembrance, identity, and invention. The work explores the artist’s futile attempt to study time by stopping it mid-decay, and traces of her search for the possible and impossible within the medium. Palmer plays with elements of scale to reveal the vulnerability of both the subject and medium. As A Real House delves into the self-reflexive realms of photography, commenting directly on the boundary between what is real and what is invented, immediate and hidden, desirable and grotesque.” – text via The Wild Project

Ann Woo

Work from her oeuvre.

“I photograph things that I can’t stop myself from staring at, almost in an obsessive way. I sometimes have instant inspirations from what I see, but they are not so meaningful to me. I spend most of my time alone and often hide and read ‘self help’ books – which friends would always laugh at (I always have to wrap them up and read them secretly, as if I have to be ashamed). Lately, I have discovered that I am starting to understand the meaning of ‘inspirations doesn’t come outwardly, but from within.’ I think it’s less important where to find inspiration but more so to understand where these inspirations or ‘impulses’ come from, why I get inspired by one thing instead of another. Ideas and creation can be limitless. All the time I have spent self–doubting or questioning has actually helped in understanding myself, my concerns, and eventually my work.” – Ann Woo from a conversation with Nymphoto.