View allAll Photos Tagged beyond
2014/03/02 (sun)
OBSCENE EXTREME 2014 ASIA - DAY 3
SELF DECONSTRUCTION
ISTERISMO
FLAGITIOUS IDIOSYNCRASY IN THE DILAPIDATION
SETE STAR SEPT
DISGUST
GORE BEYOND NECROPSY
ABIGAIL
SYSTEMATIC DEATH
ABRAHAM CROSS
FRAMTID
DOOM (UK)
CRIPPLE BASTARDS (Italy)
at Asakusa KURAWOOD
2012 photo courtesy of Wildlife and Heritage Service
Participants spend a weekend hiking and camping through Gathland State Park, South Mountain, and other western Maryland sites.
Day 5 of Beyond beyond
I finally had time to view kim's videos...and learn a few new tricks...not only did I apply a soft whitish/yellow linear gradient, I used the sybil texture trick!
I was a little stuck on what to photograph...but since my mom passed away 4 years ago on this day...and she taught me so much about being creative (and how to sew!) I thought I'd do a little tribute...
The artifact "Beyond the Wall" is a testament to the boarder we currently face during the Covid-19 pandemic. While bodies of water are meant to represent adventure and freedom, the image takes this definition and uncovers a current obscurity and harsh truth. We live in a world of liberty but, a wall currently blocks our path. The contrast found between the blue ocean and grey wall gives viewers a moment of self reflection during this difficult time.
Breakers & Beyond winner David Strubbe at the Sanfermines festival (running of the bulls) in Pamplona, Spain.
Beyond Fashion . . . . Styles Not A Game, McCallum Theatre, January 20, 2007.
Model, Hannah Brewer
Copyright 2007, Steve Hopson.
during Beyond the Bluff event at W Hotel in San Francisco, Thursday, Nov. 17, 2022. (Photo by Jim Gensheimer)
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.
artgallery.calpoly.edu/2020/beyond-the-surface
As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.
In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”
Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”
Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.
3rd-11th January 2015
Over the mountains and across the seas, and we are yet to be there.
This beautiful culture and lovely people, their peaceful smiles that decorate this Golden Land, are far beyond you can imagine. It's something that you can't see much in this century. This Land, she is called Myanmar, She will rise again and she will sing again. .
壯觀的江山 美麗的文化 如此可愛的名族 在這科技的時代 很難看到了 深信他們將會再次強壯起來 ~~