Edward Burtynsky interview via APhotoEditor:
I have no idea what else I would do. Creating ideas and objects, and being involved in art making, whether it’s in the form of photography, or something else is part of my being. The creative urge feels as if it’s in my DNA. If I’m not creating something, then I feel as if I’m having a slow death.
The “why” of what I do is fairly straightforward, it’s why all artists are compelled to do their work. Most of the artists I know who are successful don’t have a lot of choice. It’s something they simply need to do. That’s as close as I can come to why I do it. I’ve always made things. I’ve always been involved in the arts.
Ann Hamilton
http://www.annhamiltonstudio.com/projects/corpus.html
Teresita Fernandez
Teresita Fernandez, known for her work on installation art based on a unique understanding of the material is holding a private exhibition in 313 Art Project, Seoul, Korea from 20th September to 29th October. Her work is famous for a nature-inspired, nature-replicating characteristics. Teresita’s work, with a vast interest in the field of visual perception of man and the psychology of sight begins with the true form of nature and a unique imagination branching from it. She is known mainly for her large-scale installation pieces describing her impression on nature. She replicates the impression of the primal nature such as light, water, fire and sunlight through minimalistic expressionism and nudges the spectators to build their own fantasy and reality by visualizing time.
“What all of the images have in common is that they are not solid, that they represent more of an event or phenomenon rather than a representation of a tangible object or place. “
Elina Brotherus —
Model Studies continues from where my earlier series The New Painting (2000-2004) ends.
Even more pronouncedly than the previous series, Model Studies is not about personal stories nor a documentary about someone’s life. The images have been constructed for visual reasons. My attention is attached to light, colours, the rythm of the masses, and to subject matters with classical notions. The figure often turns her back to the spectator. This gesture invites to a peaceful contemplation, not to a confrontation.
Elina Brotherus Paris, February 2005
The subject matters come from my close surroundings - from where I live, where I travel, with whom I share my time. The images fall into two categories: landscapes, notably the Horizon works (called Horizons, Low Horizons, and Very Low Horizons, depending on the division of the picture plane), and works with the human figure.
Photography is a good medium for self-observation because of the time-lag between standing before the camera and seeing the result
John opera- on landscapes
The work speaks to notions of interiority, whether it’s being inside somewhere and meditating on a space, or being outside, in an exterior setting, and being absorbed by it.
“You hear a sad song and you feel like it’s your experience,” she has observed, “and I wanted to make art like that, to make photos like that.
Ari Marcopoulos
… be it my children or friends or whomever. And I don’t try to impose myself on them. I don’t really get too much into asking people to put on different clothes or force them into a different space. For about the last 10 years, I’ve really been working with my kids and making them the subject of my photographs, which has become more of a collaboration, like shooting my sons when they’re kicking it around the house or going for hikes in the woods. But, you know, my photography has really always been about what I feel I’m getting out of it. What people on the outside get doesn’t concern me.
richard long
Walking has enabled me to be an artist potentially anywhere, and in a very free and simple way.
Another artist who I was hugely influenced by when I was younger (and I still am) was Sally Mann. She is the first photographer, artist even, that I can remember being really obsessed with. Specifically her “Southern Landscapes” and “Immediate Family” series.
I love the way she sees the world and I love the timelessness in her images, or just that they didn’t look modernized.
I was so drawn to the aesthetic and the beauty of her images I wanted to create something, anything. I believe that her work is what drew me to begin photographing the landscape, and through that I was more aware of my connection with nature. I remember watching her Art 21 video in high school and thinking I want to be her, I’m in love with everything she says and does. Re watching it now…I still want to be her, and live like her.
This video is so great
http://www.pbs.org/art21/watch-now/segment-sally-mann-in-place
Top R+L Sally Mann
Bottom R+L Justine Orrall
The beginning
I started making photographs in the documentary style, shooting subjects and compositions that caught my eye. I was constantly noticing scenes around me as photographs rather than just something in front of me. During this time I was really interested in classic photographers like Henry Wessel. I was attracted to anything that was old or showed a history. It seemed as though he could make anything seem glamourous, and I loved that.
Top R+L Henry Wessel
Bottom R+L Justine Orrall
Chiharu Shiota - Installation Artist
Chiharu Shiota is an amazing artist, using threads and yarns to create these webs that are attached to objects which are caught in these webs. Shiota is influences by fairy tales, old hospitals, dark dreams and memories. Sometimes she believes that reality is her dream and that her dreams are her reality. The Suitcases in one of the above images represents identity and memories of people. These installations are stunningly beautiful but with an edge to give you shivers. The thought and depth to these pieces represents nightmares, and it is so dark that it can give you nightmares.
(via thesearenotdistractions)
