Das Reh © Nina Buesing Corvallo
Showing posts with label animals in art. Show all posts
Showing posts with label animals in art. Show all posts
Wednesday, June 18, 2008
Friday, June 13, 2008
Charlotte Dumas
Tema participated in the HIV Law Project Exhibit & Auction while I was away, through the auction's website I was introduced to the work of Charlotte Dumas, which like the work of Arno Schildlowski is of course right up my alley, take a look here and here.
Sunday, May 18, 2008
Dummy Magazin & Arno Schidlowski
When I flew back to New York from Hamburg this week at the airport I was browsing for some German magazine to read and take with me. I am not that excited about editorial anymore, so much of it has become boring, but I had hopes that perhaps I would find something exciting.
And I did: The "Tiere (Animal) issue of Dummy Magazin(e).
The cover caught my eye and after reading the entire magazine (now that is rare!) and absorbing all of it's visual content, I suspect this magazine would hold my attention no matter what topic. It's frank and it does not shy away from controversial & thought-provoking discourse. It's set-up similar to Big magazine (one topic per magazine and interesting photography), except there is lots more writing, the paper is n0t as extravagant and it has a kinder price tag.
In this issue of Dummy I came across the familiar work of Robin Schwartz (whose cover made me look at the magazine) and great work by by Alessandra Sanguinetti, and most importantly I discovered the work of Arno Schildlowski.
Animal imagery is difficult to do well. Often it ends up being cheesy and straight forward wildlife photography while beautiful (and great in a book) is not really something I want to hang on my wall.
Arno Schidlowski however captures animals in a different way. In his artist statement (which he was kind enough to email me) for his series titled "Summa" he speaks (very eloquently) about how is work is guided mostly by instinct& spontaneity; because he needs to be able to react to the unpredictable, un-directable animal, but also because an instinctual approach promotes an outcome that separates itself from the accepted & standard portrayal of the subject matter.
From the series "SUMMA" © Arno Schidlowski
Stylistically I love the daring dark palette. I find the minimalism & abstraction clever, because it focuses the attention of the viewer on important elements and allows the imagination (as is the intention of Arno) to fill in the blanks, while creating subtle appealing imagery. There is much unknown to us about the (animal) world and Arno Schidlowski in his work admits it and leaves space for that that we do not know and/or cannot control.
You can see the Summa series at DUMMY galerie in Berlin until June 3, 2008.
If you like this work you might also want to take a look at the work of photographer Tim Flach (a more artisan approch to the subject) and a look at some of my Fauna work.
And I did: The "Tiere (Animal) issue of Dummy Magazin(e).
The cover caught my eye and after reading the entire magazine (now that is rare!) and absorbing all of it's visual content, I suspect this magazine would hold my attention no matter what topic. It's frank and it does not shy away from controversial & thought-provoking discourse. It's set-up similar to Big magazine (one topic per magazine and interesting photography), except there is lots more writing, the paper is n0t as extravagant and it has a kinder price tag.
In this issue of Dummy I came across the familiar work of Robin Schwartz (whose cover made me look at the magazine) and great work by by Alessandra Sanguinetti, and most importantly I discovered the work of Arno Schildlowski.
Animal imagery is difficult to do well. Often it ends up being cheesy and straight forward wildlife photography while beautiful (and great in a book) is not really something I want to hang on my wall.
Arno Schidlowski however captures animals in a different way. In his artist statement (which he was kind enough to email me) for his series titled "Summa" he speaks (very eloquently) about how is work is guided mostly by instinct& spontaneity; because he needs to be able to react to the unpredictable, un-directable animal, but also because an instinctual approach promotes an outcome that separates itself from the accepted & standard portrayal of the subject matter.
From the series "SUMMA" © Arno Schidlowski
Stylistically I love the daring dark palette. I find the minimalism & abstraction clever, because it focuses the attention of the viewer on important elements and allows the imagination (as is the intention of Arno) to fill in the blanks, while creating subtle appealing imagery. There is much unknown to us about the (animal) world and Arno Schidlowski in his work admits it and leaves space for that that we do not know and/or cannot control.
You can see the Summa series at DUMMY galerie in Berlin until June 3, 2008.
If you like this work you might also want to take a look at the work of photographer Tim Flach (a more artisan approch to the subject) and a look at some of my Fauna work.
Friday, May 9, 2008
More Diana Scherer
Here are some of my favorite images by the talented Diana Scherer:
"Kudde" ©Diana Scherer
Works from the series "Still-Life"' ©Diana Scherer
Diana was kind enough to let me use these images on my blog and she also directly expressed that it is important to know that no animals were purposefully killed for her work. She also mentioned that viewers have very strong reactions to her work.
This made me think about what exactly it is that touches a nerve with people when they view her work. As I mentioned previously I liked the work, was affected by it and because of my own personal ethics in regard to animal welfare I was concerned with the provenance of the animal bodies.
However I suspect that her frank examination of life and death is what generates such a strong reaction in most people. Diana said while she deals with tragedy & death, her work is really about life. I very much agree. In western society death is the topic hardest to discuss, even though death obviously is a part of life.
Another body of work that came to mind was Amy Stein's celebrated "Domesticated" series. My understanding is that Ms.Stein used taxidermied animals for her imagery, but her use of dead animals caused no negative reactions.
Diana's work is beautiful and direct - there is no room for misunderstanding of what she is depicting - and I think this can be difficult for some.
Most people buy their meats in supermarkets and never think of where it came from. When death is shown in movies or on TV it is 'sanitized' and even the news shield the viewers. In the US news for example it is rare to see footage of dead or injured whether they are US citizens or other nationals. While I agree that portrayal of violence should be curbed, I do not think there is enough intelligent discourse regarding death.
"Kudde" ©Diana Scherer
Works from the series "Still-Life"' ©Diana Scherer
Diana was kind enough to let me use these images on my blog and she also directly expressed that it is important to know that no animals were purposefully killed for her work. She also mentioned that viewers have very strong reactions to her work.
This made me think about what exactly it is that touches a nerve with people when they view her work. As I mentioned previously I liked the work, was affected by it and because of my own personal ethics in regard to animal welfare I was concerned with the provenance of the animal bodies.
However I suspect that her frank examination of life and death is what generates such a strong reaction in most people. Diana said while she deals with tragedy & death, her work is really about life. I very much agree. In western society death is the topic hardest to discuss, even though death obviously is a part of life.
Another body of work that came to mind was Amy Stein's celebrated "Domesticated" series. My understanding is that Ms.Stein used taxidermied animals for her imagery, but her use of dead animals caused no negative reactions.
Diana's work is beautiful and direct - there is no room for misunderstanding of what she is depicting - and I think this can be difficult for some.
Most people buy their meats in supermarkets and never think of where it came from. When death is shown in movies or on TV it is 'sanitized' and even the news shield the viewers. In the US news for example it is rare to see footage of dead or injured whether they are US citizens or other nationals. While I agree that portrayal of violence should be curbed, I do not think there is enough intelligent discourse regarding death.
Monday, May 5, 2008
Follow Up: Diana Scherer
Things have been hectic, and thus I am a bit late on this, but I wanted to follow up on my post from May 1, 2008 about the Hyres Photography Festival and the work of Diana Scherer.
First let me reiterate how impressed I was with the work competing at Hyeres, not just the winners. I am smitten with the photo-diaries of Patrick Tsai & Madi Ju, which I feel are relevant and should be recorded, because it reflects the contemporary world so well and also how it is changing.
Another artists I was introduced to via Hyeres was Diana Scherer . I was instinctively interested in her "Still-Life" work, but was left uneasy because of the implication of violence in Ms. Scherer's work (take a look also at her series "Handmade Original", "Maedchen" & "Frauen" ). I have a similar reaction to the work of Alison Brady. Ms. Scherer however does not just depict women, like Ms. Brady .
Diana Scherer's interest in death is universal and the images that I am interested in and attracted to are those of her "Still-life" series - presenting tableaux with dead animals. Perhaps for me it is easier to look at death when it is an animal than when it is a human being depicted, as it is more removed and I do not have to face my own mortality. I guess that would be the obvious and most trite explanation. However I also find the animal form more worthy of examination (I mostly photograph animals in my personal work). I certainly find the animal symbolically more "pure" and universal.
From an aesthetic point of view I knew Ms. Schere's images worked and that they are interesting, but I wasn't so sure if they were jibing with my ethics. I do understand that millions of animals are slaughtered everyday for no purpose or the purpose of consumption, however I do not like the idea of using an animal purposely for an art project, even if it could potentially produce change. The husband and I had many discussion about this complex issue.
Thus I was reluctant to embrace Diana Scherer's work, because while the images are seductive and clever, I was not sure how I felt about them because I did not have more information about how they were made.
But the "Godfather"of Photo Blogging, as Joerg Colberg was so aptly and affectionately named by Andrew Hetherington, gave me some feedback on the work. Joerg Colberg was a judge at Hyeres and while he is not speaking for Diana directly he explained that while he met her at Heres, she clarified the story behind her work and that all the animals she used were already dead and not killed for the purpose of her work. She also recounted that her grandfather was a hunter and that she loved animals and could not understand death and would try to revive the dead animals. Apparently part of her hopes of saving the animals involved her placing the dead animals in her grandparent's bed. Love that tidbit!
I want to thank Joerg Colberg for giving me some extra information on the work. It has made a huge difference and also reminded me how great the photo blogosphere can be.The exchange of information is invaluable and best of all: it is accessible to most.
Ms. Scherer's work has given me a little insight into the motivation behind some of my own work and hopefully I can blog about that soon. I am still formulating my thoughts and trying to tie Goethe, Gerhard Richter, Diana Scherer and myself together; I am getting there slowly.
Oh and talking about animals in art: Thank you, Rona --who sent me the most beautiful postcard depicting deer - from a Chinese hanging scroll from the 10 or 11th Century.
First let me reiterate how impressed I was with the work competing at Hyeres, not just the winners. I am smitten with the photo-diaries of Patrick Tsai & Madi Ju, which I feel are relevant and should be recorded, because it reflects the contemporary world so well and also how it is changing.
Another artists I was introduced to via Hyeres was Diana Scherer . I was instinctively interested in her "Still-Life" work, but was left uneasy because of the implication of violence in Ms. Scherer's work (take a look also at her series "Handmade Original", "Maedchen" & "Frauen" ). I have a similar reaction to the work of Alison Brady. Ms. Scherer however does not just depict women, like Ms. Brady .
Diana Scherer's interest in death is universal and the images that I am interested in and attracted to are those of her "Still-life" series - presenting tableaux with dead animals. Perhaps for me it is easier to look at death when it is an animal than when it is a human being depicted, as it is more removed and I do not have to face my own mortality. I guess that would be the obvious and most trite explanation. However I also find the animal form more worthy of examination (I mostly photograph animals in my personal work). I certainly find the animal symbolically more "pure" and universal.
From an aesthetic point of view I knew Ms. Schere's images worked and that they are interesting, but I wasn't so sure if they were jibing with my ethics. I do understand that millions of animals are slaughtered everyday for no purpose or the purpose of consumption, however I do not like the idea of using an animal purposely for an art project, even if it could potentially produce change. The husband and I had many discussion about this complex issue.
Thus I was reluctant to embrace Diana Scherer's work, because while the images are seductive and clever, I was not sure how I felt about them because I did not have more information about how they were made.
But the "Godfather"of Photo Blogging, as Joerg Colberg was so aptly and affectionately named by Andrew Hetherington, gave me some feedback on the work. Joerg Colberg was a judge at Hyeres and while he is not speaking for Diana directly he explained that while he met her at Heres, she clarified the story behind her work and that all the animals she used were already dead and not killed for the purpose of her work. She also recounted that her grandfather was a hunter and that she loved animals and could not understand death and would try to revive the dead animals. Apparently part of her hopes of saving the animals involved her placing the dead animals in her grandparent's bed. Love that tidbit!
I want to thank Joerg Colberg for giving me some extra information on the work. It has made a huge difference and also reminded me how great the photo blogosphere can be.The exchange of information is invaluable and best of all: it is accessible to most.
Ms. Scherer's work has given me a little insight into the motivation behind some of my own work and hopefully I can blog about that soon. I am still formulating my thoughts and trying to tie Goethe, Gerhard Richter, Diana Scherer and myself together; I am getting there slowly.
Oh and talking about animals in art: Thank you, Rona --who sent me the most beautiful postcard depicting deer - from a Chinese hanging scroll from the 10 or 11th Century.
Monday, April 21, 2008
Oh My Cavalier!
Mrs. Wolf(e) © Julianna Swaney
Last night I was browsing through Nylon and noticed they featured Little Paper Planes, a neat little online source for screen printed t-shirts, prints and more. One of the images used to illustrate what Little Paper Planes offers was by Julianna Swaney. Julianna is everywhere now. Her work was just recently shown in New York and can be seen in California next. If you are in Los Angeles swing by Lab 101 starting Saturday to see her work.
Julianna Swaney @
Lab 101
8539 Washington Blvd.
Culver City, CA 90232-7444
(310)945 5974
April 26 - May 21, 2008
Friday, April 18, 2008
Bird Heart by Amy Ross
As I said many times before, I love love love the work of the very talented and accomplished Amy Ross.
Keep Calm Gallery now offers a limited edition print of her "Bird Heart" piece. This is a great opportunity to own a print of her work.
Love Love Love © Amy Ross/Keep Calm
Keep Calm Gallery now offers a limited edition print of her "Bird Heart" piece. This is a great opportunity to own a print of her work.
Love Love Love © Amy Ross/Keep Calm
Monday, April 14, 2008
By Popular Demand
Some snapshots from the incredible exhibit of the work of artist Cai Quo-Giang at the Guggenheim New York:
Valerie Hammond & Julianna Swaney
The magical work of Julianna Swaney © Julianna Swaney
This post has been a long time coming. The more I care about something the harder it can be to write about it.
I came across the work of Valerie Hammond via Apartment Therapy the other day, and instantly responded to her work. Ms. Hammond studied alongside Shiran Neshat at Berkley and has taught along side Kiki Smith at Columbia and NYU (Smith & Neshat are two of my favorite artists). Ms. Smith wrote an insightful introduction to the exhibit she curated of Ms. Hammond's work for The Cue Art Foundation and you can read it here.
Ms.Hamond is a printmaker as is Kiki Smth of course. Printmaking is a medium I really love, because it combines elements of my two favorite disciplines: drawing & photography.
And while we are on the topic of printmaking and Victorian aesthetic (both a strong influence for Smith & Hammond) I wanted to mention a young Michigan artist named Julianna Swaney, who I encountered just a couple of weeks ago on Etsy and am totally smitten with!
Ms. Swaney has distinct vision, reminiscent in style of Ms. Smith. She has her pulse on what is creative/artistic trend/obsession right now: anthropomorphism & the Victorian aesthetic. She uses a very female approach to incorporating childhood & folklore into her artwork.
Her work resonates very strongly with me. Perhaps her and I share some childhood experiences that resulted in similar aesthetic preferences and preoccupations -- even though we grew up on opposite sides of the globe. Or maybe her work is simply appealing to a universal audience.
I own some of Julianna's work and it is even more exquisite than it looks on your computer screen. On top of that Julianna is a really lovely person and caring about her patrons.
Bears & Foxes from Oh My Cavalier! © Julianna Swaney
Wednesday, April 9, 2008
Michael Kenna
If you are in Chicago you can see work by photographer Michael Kenna at the Edelman Gallery (through April 18, 2008).
I recently acquired my own copy of "Hokkaido" - a monogram with images taken by Mr. Kenna in Japan. My friend Pete introduced me to this work and I am revisiting it as I have become more interested in B&W & monochrome imagery again.
I recently acquired my own copy of "Hokkaido" - a monogram with images taken by Mr. Kenna in Japan. My friend Pete introduced me to this work and I am revisiting it as I have become more interested in B&W & monochrome imagery again.
Thursday, April 3, 2008
More Animals in Art: Nicole Jean Hill
I guess this is the day for posting about work where animals served as inspiration or metaphor or gave insight into our collective existence.
A few weeks back Amy Stein blogged about Nicole Jean Hill's Critters series.
This collection of images is definitely my favorite of Ms. Hill's work (but I am fond of her Mounds too). The images are funny, absurd and on another level tragic. More telling about humans and than animals, the imagery is very open to anthropomorphic interpretation. This series reveals an uncanny eye for observation in Hill and I find the work compelling.
A few weeks back Amy Stein blogged about Nicole Jean Hill's Critters series.
This collection of images is definitely my favorite of Ms. Hill's work (but I am fond of her Mounds too). The images are funny, absurd and on another level tragic. More telling about humans and than animals, the imagery is very open to anthropomorphic interpretation. This series reveals an uncanny eye for observation in Hill and I find the work compelling.
Ryan McLennan: From Fur to Bone
More good stuff out West:
Ryan McLennan's (another favorite) "From Fur to Bone" Show opens this Saturday in Los Angeles at Kinsey/Des Forges -- the show will run through May 10th, 2008.
From Fur to Bone © Ryan McLennan/Kinsey/Des Forges
Opening Reception: April 5th, 2008 7:00 PM - 10:00PM
Kinsey/Des Forges
6009 Washington Blvd
Culver City, CA
And coming in November 08 back East:
Ryan McLennan & Amy Ross at Transmission Gallery in Richmond, VA
Ryan McLennan's (another favorite) "From Fur to Bone" Show opens this Saturday in Los Angeles at Kinsey/Des Forges -- the show will run through May 10th, 2008.
From Fur to Bone © Ryan McLennan/Kinsey/Des Forges
Opening Reception: April 5th, 2008 7:00 PM - 10:00PM
Kinsey/Des Forges
6009 Washington Blvd
Culver City, CA
And coming in November 08 back East:
Ryan McLennan & Amy Ross at Transmission Gallery in Richmond, VA
Animal Spell: Justin Gibbens + Amy Ross
Wish I was in Seattle for this one -- Amy Ross is one of my all time favorites:
Animal Spell: Justin Gibbens + Amy Ross
Punch Gallery
119 Prefontaine Place South,
Seattle, WA
April 3 – 27, 2008
Opening Reception:5-8pm
First Thursday, April 3, 2008
also check out each artists respective website (and Amy's fantastic blog):
Justin Gibbens
Amy Ross & her blog Nature Morph
Animal Spell: Justin Gibbens + Amy Ross
Punch Gallery
119 Prefontaine Place South,
Seattle, WA
April 3 – 27, 2008
Opening Reception:5-8pm
First Thursday, April 3, 2008
also check out each artists respective website (and Amy's fantastic blog):
Justin Gibbens
Amy Ross & her blog Nature Morph
Tuesday, April 1, 2008
Todd Hido
If you are interested in contemporary photography and particularly American landscape and you are in New York tonight (-- and your are not going to hear Jhumpa Lahiri speak) you should go see Toddd Hido lecture at the Aperture Gallery - 547 West 27th Street, 4th Floor at 6:30 PM.
Sunday, March 16, 2008
New Work By Ryan McLennan
Today I heard from one of my favorite contemporary painters, Ryan McLennan, whose new work you can see & purchase at BLK/RKT Gallery.
I can never get enough of Ryan's work and I love the new elements that he has recently introduced. His voice is only growing stronger and more expressive.
Ryan also has a show opening in three weeks at Kinsey/Des Forges in L.A. I will remind you of this as we get closer of the date :)
Meanwhile enjoy these works of Ryan's:
Expecting and Condo © Ryan McLennan
I can never get enough of Ryan's work and I love the new elements that he has recently introduced. His voice is only growing stronger and more expressive.
Ryan also has a show opening in three weeks at Kinsey/Des Forges in L.A. I will remind you of this as we get closer of the date :)
Meanwhile enjoy these works of Ryan's:
Expecting and Condo © Ryan McLennan
Saturday, March 8, 2008
Looking: Hannah Whitaker & Taryn Simon
On my quest for inspiration, I decided to look a little beyond my usual suspects. One image that kinda really tickled me is by Hannah Whitaker, who I found via "Horses Think Don't Think".
I love the bunny image. It's so whimsical, yet so possible and as the blog remarked: clever.
Because of Amy Stein's Blog (always a good read) I was reminded of the work of Taryn Simon. Taryn Simon has a truly extraordinary career, particularly for her young age. Ms. Stein blogged (it's explicit, be warned) about an erotic picture Ms. Simon might have taken many years ago and seemed perplexed by the possibility that this image was indeed by Taryn Simon.
However as I recall (and correct me if I am wrong!) Ms. Simon started out with erotic or sexually provocative imagery. And it got her a lot of attention. She also used to do strictly commercial work.I believe there was a beautiful campaign with horses on a beach (yeah, yeah...I know horses) for Chloe and I remember several editorial portraits for main stream magazines too. (That there are not many traces left of her previous works is for a whole other blog post).
However now Ms. Simon exclusively works in Fine Art and increasingly successfully so -- her latest body of work "An American Index of the Hidden and Unfamiliar" was original, meaningful and meticulously executed; and I do not find it surprising that Ms. Simon explored other avenues of photography (for whatever reasons) first. I think most artists go through different phases while they find refine their voice. Ms. Simon is so young and was successful so early on, that I think she did her creative exploring in the public eye (while most of us do it in anonymity while in school or before we have our first success). I also suspect that working in different genres of photography gave her an outstanding foundation in the craft, which immensely contributes to her successfully communicating through her work.
You can listen and watch Taryn Simon eloquently explain what drives her (and why she uses analog methods of photography!) on Charlie Rose:
I love the bunny image. It's so whimsical, yet so possible and as the blog remarked: clever.
Because of Amy Stein's Blog (always a good read) I was reminded of the work of Taryn Simon. Taryn Simon has a truly extraordinary career, particularly for her young age. Ms. Stein blogged (it's explicit, be warned) about an erotic picture Ms. Simon might have taken many years ago and seemed perplexed by the possibility that this image was indeed by Taryn Simon.
However as I recall (and correct me if I am wrong!) Ms. Simon started out with erotic or sexually provocative imagery. And it got her a lot of attention. She also used to do strictly commercial work.I believe there was a beautiful campaign with horses on a beach (yeah, yeah...I know horses) for Chloe and I remember several editorial portraits for main stream magazines too. (That there are not many traces left of her previous works is for a whole other blog post).
However now Ms. Simon exclusively works in Fine Art and increasingly successfully so -- her latest body of work "An American Index of the Hidden and Unfamiliar" was original, meaningful and meticulously executed; and I do not find it surprising that Ms. Simon explored other avenues of photography (for whatever reasons) first. I think most artists go through different phases while they find refine their voice. Ms. Simon is so young and was successful so early on, that I think she did her creative exploring in the public eye (while most of us do it in anonymity while in school or before we have our first success). I also suspect that working in different genres of photography gave her an outstanding foundation in the craft, which immensely contributes to her successfully communicating through her work.
You can listen and watch Taryn Simon eloquently explain what drives her (and why she uses analog methods of photography!) on Charlie Rose:
Do You Gocco ?
In my search for inspiration and techniques I came across The Gocco! And now I want one. However I think I need to do some more research, because of course I shall have stumbled on another process that is threatened by extinction! Read more about the Gocco in Rob Walker's article for "The New York Times" , titled "The Cult of Gocco".
The Gocco prints on paper and fabric and I have a feeling they would like this thing at a craft store named "Fishy Business" too ;) -- even though I am not sure if Placencia has a traditional photocopy machine, which is a very helpful yet not necessary tool in the Gocco Process.
The Gocco prints on paper and fabric and I have a feeling they would like this thing at a craft store named "Fishy Business" too ;) -- even though I am not sure if Placencia has a traditional photocopy machine, which is a very helpful yet not necessary tool in the Gocco Process.
Monday, March 3, 2008
Hermes, Lakshmi Menon, Two Elephants, A Horse & Lots of Marigold
The current Hermes Print Campaign, featuring beauty Lakshmi Menon is visually exquisite. You can see the Ads on Fabsugar.
e-card via www.orangehermesetroseindien.com courtesy Hermes
update: if you read the comments on fabsugar, you can see that some people find these ads offensive. They feel the depiction of any non-Caucasian woman with exotic animals can be construed as negative. I personally do not see the ads this way , but do respect that opinion. I do think that Lakshmi Menon and other models such as Liya Kebede are not necessarily more objectified than any other model -- and I enjoy seeing them in editorials and ads and I do think their presence helps present more diversity. But again maybe this is something that has to be looked at on a case and by case basis and surely this also has to do with the worldview of the beholder. When I look at these ads I also sympathize with the people who voiced their concern in regard to the animals. I do not think this shoot was harmful for them, I think how they generally are treated might be more of interest.
e-card via www.orangehermesetroseindien.com courtesy Hermes
update: if you read the comments on fabsugar, you can see that some people find these ads offensive. They feel the depiction of any non-Caucasian woman with exotic animals can be construed as negative. I personally do not see the ads this way , but do respect that opinion. I do think that Lakshmi Menon and other models such as Liya Kebede are not necessarily more objectified than any other model -- and I enjoy seeing them in editorials and ads and I do think their presence helps present more diversity. But again maybe this is something that has to be looked at on a case and by case basis and surely this also has to do with the worldview of the beholder. When I look at these ads I also sympathize with the people who voiced their concern in regard to the animals. I do not think this shoot was harmful for them, I think how they generally are treated might be more of interest.
Sunday, February 17, 2008
Fritz Haeg
The next Whitney Biennial opens March 6th, 2008. I don't always care enough to go, but this year I do, because I want to see the work of Fritz Haeg.
I did not know about Fritz Haeg until today's New York Times article "Art and Life, Steeping in a Teapot" (by David Colman) caught my attention. The article was in the arts section and the title mentioned tea - I love tea - so I read it and now I can't wait to see the work of this person who wants to rekindle our relationship with nature, who is a trained architect, who values crafts and whose most important possession is a teapot.
Fritz, where have you been all my life?!
All kidding aside I am really excited to see this progressive approach to art. It made my day and made me a lot less grumpy. I was vexed because of the continuous need of many omnivores to ridicule the herbivores. (Maybe Schoppenhauer's idea about the three stages of truth has something to do with it.)
Sometimes it is just too much.
In any case, I don't know if Mr. Haeg is a vegetarian, but I feel confident to assume that he is not threatened by people who choose to mostly eat vegetables. And his embrace of life is uplifting and thus reading about him made my day.
Mr. Haeg's work for the Biennale is called "Animal Estates", which follows "Edible Estates" --the Times also reported about that project in 2006 in an article by Patricia Leigh Brown, titled "Redefining American Beauty, by the Yard".
If after reading more about Mr. Haeg you are curious to see the Dome House, you can currently see it here: www.realestatearchitect.com/index.php/ladomehouse/index/
I love the jungle garden.
I did not know about Fritz Haeg until today's New York Times article "Art and Life, Steeping in a Teapot" (by David Colman) caught my attention. The article was in the arts section and the title mentioned tea - I love tea - so I read it and now I can't wait to see the work of this person who wants to rekindle our relationship with nature, who is a trained architect, who values crafts and whose most important possession is a teapot.
Fritz, where have you been all my life?!
All kidding aside I am really excited to see this progressive approach to art. It made my day and made me a lot less grumpy. I was vexed because of the continuous need of many omnivores to ridicule the herbivores. (Maybe Schoppenhauer's idea about the three stages of truth has something to do with it.)
Sometimes it is just too much.
In any case, I don't know if Mr. Haeg is a vegetarian, but I feel confident to assume that he is not threatened by people who choose to mostly eat vegetables. And his embrace of life is uplifting and thus reading about him made my day.
Mr. Haeg's work for the Biennale is called "Animal Estates", which follows "Edible Estates" --the Times also reported about that project in 2006 in an article by Patricia Leigh Brown, titled "Redefining American Beauty, by the Yard".
If after reading more about Mr. Haeg you are curious to see the Dome House, you can currently see it here: www.realestatearchitect.com/index.php/ladomehouse/index/
I love the jungle garden.
Friday, February 15, 2008
Interviews
Getting a bit of insight or the back story to the creative process is always interesting to me. Here are some interviews with creative people I have recently blogged about:
Amy Stein interview on Fecal Face here.
The Satorialist AKA Scott Schuman interview with PDN here.
Azazel Jacobs interview with New York Magazine here.
Enjoy!
Amy Stein interview on Fecal Face here.
The Satorialist AKA Scott Schuman interview with PDN here.
Azazel Jacobs interview with New York Magazine here.
Enjoy!
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