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“My photographs are about removal: bringing people to nondescript locations, to places that aren’t recognizable, removing their clothes, capturing them with a very limited style palette. I try to think about how timelessness, isolation, and style interact”. Ryan McGinley, Artforum, September 2010. Ryan McGinley’s aesthetic has evolved over the past decade from a verité snapshot style to one that is more cinematic, even epic. More
Georges Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas, or a sculptor to his clay or marble. His raw material
In this series of works photographed old childhood friends with whom I no longer maintain contact and also individuals I have just met. The portraits were made during a conversation. From this encounter, I separated 10 photos of each one and, for the most part, I did not treat the photos with any particular color in mind, leaving the color and light as they were
Do Ho Suh (b.1962, Seoul, Korea) received a BFA in painting from the Rhode Island School of Design and a MFA in sculpture from Yale University. Suh leads an itinerant life, hopping from his family home in Seoul (where his father, Suh Se-ok is a major influence in Korean traditional painting) to his working life in New York. Migration, both spatial and psychological, has been
Today’s pattern challenge isn’t. By that I mean there’s no challenge for you to figure out because the pattern maker -Shingo Sato- in today’s example shows you how to tender said results. At right is such an example; an origami bodice. Pretty fun huh? You can see the making of this particular example on Youtube. His claim to fame is popularizing the elimination of darting
MacArthur Fellow Teresita Fernández finds inspiration in nature and draws upon a wide range of materials to translate natural forces into essential elements of color and light, depth and space. Fernández is extremely sensitive and attentive to the inherent properties of materials. Through a regimen of experimentation, she achieves a striking balance between form and the resonant character of unorthodox, synthetic materials. Her ability
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