View allAll Photos Tagged ectoplasm
Inspired by the music of PINKCOURTESYPHONE
richardchartier.bandcamp.com/album/a-ravishment-of-mirror... and and Copenhagen Cowboy by Nicolas Winding Refn on NETFLIX.,
The horned skull is a nice bit of metal artwork I've taken locally (I'm ashamed to say I don't know who it's by). I've been wondering how to use for a while. Then I remembered this chap, in quiet contemplation, which I snapped at Rievaulx Abbey a while back. The two pictures seemed to fit well together - suddenly this elderly gentleman is a menacing monster - complete with shopping bag! The idea of the red ectoplasm is to somehow show the power of his thoughts. Dunno if that works or not? :O)
alright kids, one of my favorite canadian artists is showing in nyc!
if you know nick di genova's work, you'll know to check this ill sh*t out. if you dont know nick's work, dude ya better go see it in person, these crazy monsters'll BLOW YOUR MIND!!!!!
Nicholas Di Genova
Death From Below: The Upper Layers of the Hades Geofront
Fredericks Freiser Gallery 536 W 24th street
September 9 through October 14
Opening reception September 14, 6 to 8pm
come out, meet the dude....
from the press release:
Fredericks & Freiser is proud to announce a solo exhibition of
paintings on Mylar by Canadian artist Nicholas Di Genova. The artist's
fine-lined Darwinian allegories graphically illustrate a mythological
underworld. If the sleep of reason does in fact breed monsters (and
granted that reason may be on the fritz lately) then few since Goya
have attempted to tease these monsters out into the light of day with
such deadpan clarity. Luckily, Di Genova has been living in a world
whose walls continuously bleed messages from its own unconscious in
the form of graffiti. Seceding from the academy of recycled
aesthetics, Di Genova has the imagination and pure linear finesse to
explore every sense of the word graphic: "GRAPHIC" being, for eyes,
what "LOUD" is for ears.
check out his previous work here
visit his site at www.mediumphobic.com/
From my set, "Ectoplasm:"
www.flickr.com/photos/motorpsiclist/sets/72157630588178246/
.
Copyright © notice: My photographs and videos and any of my derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and by the Berne Convention and the Universal Copyright Convention.
ANY use without my permission in writing is forbidden by law.
.
.
~
.
.
From my set, "Ectoplasm:"
www.flickr.com/photos/motorpsiclist/sets/72157630588178246/
.
Copyright © notice: My photographs and videos and any of my derivative works are my private property and are copyright © by me, John Russell (aka "Zoom Lens") and ALL my rights, including my exclusive rights, are reserved and protected by United States Copyright Laws and by the Berne Convention and the Universal Copyright Convention.
ANY use without my permission in writing is forbidden by law.
.
.
~
.
.
Creator: William Hope (1863 - 1933)
Date: c. 1920
Collection: National Media Museum Collection
Inventory no: 2002-5054/9
Blog: G is for ghosts... the birth and rise of spirit photography
A photograph of the Welsh medium Joe Thomas.
The shrouded woman's face appearing in the photograph was not identified by Thomas - but it may indicate some form of collaboration between him and Hope.
-----
Non-commercial use: We're happy for you to share this digital image within the spirit of The Commons, although certain restrictions apply. More about copyright, reproductions and image licensing
Commercial use: To license selected images for commercial use, please visit the Science and Society Picture Library, which represents the visual collections of the Science Museum Group (National Media Museum, Science Museum, National Railway Museum, Museum of Science and Industry).
Buy a print: Thousands of images from the SMG collections are available to buy as decorative prints, postcards, greeting cards, and mugs from SSPL Prints.
I know ya'll have seen photos of ectoplasm before, but this one is shocking. It looks absolutely authentic to me. I should have it analyzed by experts. Proof beyond doubt. And _no_ it isn't string or spaghetti. Anybody could tell that. Look at the table top. It's spread all over stuff and there's an alarm clock. You know what that means!
Hybrid SDXL:Photoshop 25
My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
.
From my set, "Ectoplasm:"
AWAKEN, oh April Fetus!
.
My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
.
From my set, "Ectoplasm:"
en.wikipedia.org/wiki/Marcel_Duchamp#/media/File:Duchamp_...
Duchamp participated in the design of the 1938 International Surrealist Exhibition, which was held at the Galerie des Beaux-arts, Paris. The show featured more than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs, and installations. The surrealists wanted to create an exhibition which in itself would be a creative act, and Andre Breton named Duchamp, Wolfgang Paalen, Man Ray, Salvador Dali, and Max Ernst to help him. At the exhibition's entrance he placed Salvador Dalí's Rainy Taxi, a work consisting of a taxicab rigged to produce a drizzle of water down the inside of its windows, with a shark-headed creature in the driver's seat, and a blond mannequin covered with live snails in the back. In this way Duchamp confronted guests entering the exhibition, who were in full evening dress.
Surrealist Street filled one side of the lobby with mannequins dressed by various surrealists. The main hall was a simulation of a dark subterranean cave with 1,200 empty coal bags suspended from the ceiling. The floor was covered by Paalen with dead leaves and mud from the Montparnasse Cemetery. In the middle of the grand hall underneath Duchamp´s coal sacks, Paalen installed an artificial water-filled pond with real water lilies and reeds, which he called Avant La Mare. Illumination was provided only by a single light bulb, so patrons were given flashlights with which to view the art (an idea of Man Ray), while the aroma of roasting coffee filled the air. Around midnight, the visitors witnessed the dancing shimmer of a scantily dressed girl who suddenly arose from the reeds, jumped on a bed, shrieked hysterically, then disappeared just as quickly. Much to the surrealists' satisfaction, the exhibition scandalized many of the guests.
In 1942, for the First Papers of Surrealism show in New York, surrealists called on Duchamp to design the exhibition. He wove a three-dimensional web of string throughout the rooms of the space, in some cases making it almost impossible to see the works.[ Duchamp made a secret arrangement with an associate's son to bring young friends to the opening of the show. When the formally-dressed patrons arrived, they found a dozen children in athletic clothes kicking and passing balls, and skipping rope. When questioned, the children were told to say "Mr. Duchamp told us we could play here". Duchamp's design of the catalog for the show included "found", rather than posed, photographs of the artists.
I do feel that our exhibition mode has been professionalized into a different idea of the spectacle, being concerned with a reverent acknowledgement of the enormous financial value of so much work on show.