The digital image is an image file. It has no form and is invisible until it gets interpreted and transformed by software or the internet user. In the process of being made visible it is staged or performed.
“What is held onto through a photograph, is no longer the disappearing object itself but something that appears or becomes visible in the moment of its vanishing: as it were, the last glance that it casts at us, or the last glimpse of it that we can catch.”
Who is Ed Ruscha? Fine Arts Museums of San Francisco Curator Karen Breuer gives a primer on the iconic Los Angeles artist, examining his style, his subject matter, and his effortlessly cool persona.
“Modern society is a ruin, in our emotions and our judgement.” On the occasion of ‘The Rest’ (2019), a documentary featuring his encounters with refugees, Ai Weiwei – one of the most influential artists of our time – speaks open-heartedly about the global refugee crisis, which calls for individual action: “There is so much we […]
“Yosemite and the like are places that are certainly worth preserving, but they do not reflect of our contemporary environment which is characterized by a compromised, struggling, and tenacious Nature – the nature of the Anthropocene. It is a nature that includes us.” I am always interested in how people come to making art. […]
“While photographic techniques and mysteries are patiently explained, the paintings present are left simply to be. Everywhere one sees photographers paying homage to painters, nowhere the reverse. A fact which speaks inadvertent volumes.”
“Laval creates a disturbing emotional wilderness, drawing us as viewers into his bush of ghosts with a sense that anything could happen—a couple doing it in the road, a threesome engaged on a mystic highway, a goddess as figurehead on the vehicle in the car chase. Voyeuristic, atavistic, altruistic”.
99 SECONDS OF: Hans-Peter Feldmann Fotografieausstellung C/O Berlin 30.04. – 10.07.2016 „Wenn ich etwas richtig kann, dann ist das schauen“ Hans-Peter Feldmann Verwunderung, Zustimmung, Empörung, Unverständnis, Euphorie oder Freude – Hans-Peter Feldmanns Bilder aus dem gewöhnlichen Leben lösen heftige Reaktionen aus. Wie können die schlichten, banalen Fotografien von Frauenkleidern, Autoradios, Kühlschränken, Erdbeeren, Sonnenuntergängen, Badenixen oder […]
Tate visits artists Broomberg & Chanarin in their studio as they prepare for their performance piece ‘War Primer 2’, staged at Tate Modern as part of the ‘Conflict, Time, Photography’ exhibition. Broomberg & Chanarin created this unique performance in response to the themes of Tate Modern’s ‘Conflict, Time, Photography’ exhibition. Featuring eighteen army cadets aged […]
To accompany Tate Modern’s major survey of Damien Hirst’s work, the artist’s iconic diamond-covered skull ‘For the Love of God’ (2007) was shown in the Turbine Hall.
German artist Hans-Peter Feldmann advises young artists to always follow the path they themselves feel is the right one – however strange or fruitless it seems: “Chasing after false idols or role models is always a dead end.” Art isn’t about fame, but about carrying through your work and creating something that evokes some sort […]