Empathy may not be one of the first words people associate with modern documentary photography, but Ireland-born photographer Tom Wood has it in spades. Wood, who currently resides in North Wales, lived for twenty-five years in Merseyside, a seaside county in North West England, and photographed local residents in portraits that are relatable, real, and fundamentally sympathetic toward their subjects. Though he is often compared[…..]
California-based photographer Richard Misrach first emerged on the American art scene in the 1970s, praised for his pioneering use of color film and large-scale prints. He spent the next four decades of his career using these techniques to document the fragile relationship between man and the environment, paying special attention to decaying, off-kilter landscapes. His photographs of former nuclear test sites in Nevada and Utah,[…..]
As part of our ongoing partnership with Beautiful/Decay we bring you the painted photographs of Claire Falkenberg. Falkenberg, who lives in Brooklyn, exhibited her work in a solo show entitled Threshold at Katharine Mulherin Contemporary Art Projects in Toronto earlier this year. The article was written by Larissa Erin Greer and originally published on May 23, 2013. With a toxic mix of oil-based paint, the[…..]
Some shows demand a second viewing. Sometimes because they’re great, sometimes because they’re a totally different experience on a second viewing, and sometimes because they’re a slightly different exhibit on a second viewing. And then, of course, some shows are simply demanding. All of the above are true in Place Gallery’s survey of Northwest contemporary photography, Off the Plain. Curated by Portland photographer TJ Norris, it’s a[…..]
A dominant feature of contemporary Asian art has always been the reflection of cultural and historical frameworks within which such works are produced: firmly entrenched in tradition, yet forward-looking thanks to the far-reaching changes – and homogenisation – brought about by the formidable impact of globalisation. Even though artistic production in South Korea seems to follow this trend, it is problematised by the emergence of[…..]
“We are all so much together, but we are all dying of loneliness.” This quote by German theologian Albert Schweitzer captures a universal truth about the human condition, but its poignancy is particularly acute for city dwellers. Feeling lonesome while contemplating the vastness of the ocean or looking at the night sky is one thing; feeling isolated while surrounded by a crush of people on[…..]
The leering white faces watch from the walls. They follow you from room to room, vacant eyes staring out from behind their grotesque masks. Though the lower part of their jaws are missing—unhinged—their slit-like eyes and upturned mouths indicate that the figures are consumed with mirth. We see the same white mask over and over, but from various angles: on its side, in three-quarter profile,[…..]
