Bill Jacobson

 

 "...these shadowy pale photographs evoke the loss experienced by so many during the height of the AIDS epidemic. With their blurred human subjects, they indicate the futility of capturing true human likeness in both portraiture and memory.

 His next body of work, Thought Series (1996-1998) is a nearly monochromatic deep-black evocation of the flow of life. Photographing a broad spectrum of subjects from tightly cropped faces to fields of grass and surfaces of water, Jacobson deliberately links the human figure to nature, suggesting their constant but subtle connections."

http://www.billjacobsonstudio.com/wp

Johan Thornqvist

http://www.snarlik.se/category/art/

Uta Barth

 

 "In the 1988–89 series Untitled, she began to explore questions of photographic abstraction, mixing painting reminiscent of Op art and preexisting photographs into her images. In Ground (1992–97) and Field (1995), she introduced the imagery for which she has become known: blurry backgrounds created by focusing her camera on empty foregrounds. Ground was exhibited site-specifically (in a Los Angeles house-turned-gallery), and much of Barth’s subsequent work has engaged the notion of the photographic environment as opposed to the photographic subject...Barth extends her exploration of light and the nature of vision in photographs that capture the natural sheens, glares, and shadows that travel daily through our everyday habitats."

  

 

http://www.tanyabonakdargallery.com/artist.php?art_name=Uta%20Barth
http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Uta%20Barth
http://dpope4.wordpress.com/2011/02/04/uta-barth/

Jamie Beck and Kevin Burgh

 

A Cinemagraph is an image that contains within itself a living moment that allows a glimpse of time to be experienced and preserved endlessly.

Visual Graphics Artist Kevin Burg began experimenting with the .gif format in this style in 2009 but it wasn't until he partnered with photographer Jamie Beck to cover NYFW that Cinemagraphs were born. Marrying original content photography with the desire to communicate more to the viewer birthed the cinemagraph process. Starting in-camera, the artists take a traditional photograph and combine a living moment into the image through the isolated animation of multiple frames. To quote supermodel Coco Rocha "it's more than a photo but not quite a video".

Beck and Burg named the process "Cinemagraphs" for their cinematic quality while maintaining at its soul the principles of traditional photography. Launched virally through social media platforms Twitter and Tumblr, both the style of imagery and terminology has become a class of its own. The creative duo are looking forward to exploring future display technologies for gallery settings as well as pushing this new art form and communication process as the best way to capture a moment in time or create a true living portrait in our digital age while embracing our need to communicate visually and share instantly.

http://cinemagraphs.com

Claudia Ficca + Davide Luciano

 

After a sudden collision with a canyon sized crater of a pothole we decided to channel our frustration into a positive project where the useless pothole would be a source of humor and creativity.

Our imaginative and diverse application for potholes led us on a relentless quest in search of the perfect pothole. On site we set up our props as required to build the set we desire. The entire shoot takes approximately 5 to 10 minutes to complete.

Our shooting sessions are evenly divided with each of us taking a turn behind the camera. Camera angles and model placement and direction are discussed and at times improvised on the set, we don’t use Photoshop to create the image or add props. Of course, the menial yet crucial task of watching for traffic is shared by all. Since the POTHOLES series is shoot entirely on location during uninterrupted traffic, vigilance is key. 

http://mypotholes.com/

Cole Rise

 

 Cole Rise has spent the better half of his life taking pleasure behind the lens; stalking cows and lying in the grass to capture the landscape. His work has been featured in a notable amount of international creative magazines, books, billboards, websites, posters, and even a few CD covers for bands you can find in most music stores. He can't tell you how big the universe is, or why we're really here, but his work sometimes flirts with the idea of knowing.

http://colerise.carbonmade.com/

Simen Johan

 

"Johan’s series Until the Kingdom Comes explores the tension between the ideal and the grotesque, the real and the unreal and revels in the gritty underside of illusion. With glitter, crystal, pearls, beads, taxidermy, bones, cocoons, dead bugs, feathers and masses of hairlike fiber, Johan creates the landscapes of your dreams just as they threaten to slip into nightmare drawing you in by their superficial luminosity. While he works in both photography and sculpture, his photography employs taxidermy and live animals carefully superimposed on backdrops photographed in Iceland, Norway, and elsewhere."

 

 http://www.simenjohan.com/

 http://flavorwire.com/159586/photo-gallery-simen-johans-majestic-beasts#1

Frauke Thielking: On Your Marks

 

"I have a preference for humorous, provocative, scurrile and playful Staged Photography as well as documentary pictures. Some of my works are rather „clinical“ and reduced to the very basic, some are pretty experimental, spontaneous and personal.

I have always had a strong interest in sociological, psychological and philosophical topics and I have developed my knowledge in theoretical seminars dealing with social and cultural context of various 20th & 21rst century movements. Recently I debate on Systems Theory, Existential Philosophy, Positive Psychology and Humour Research and I am very interested in educational issues."

 

http://www.frauking.de/

David Maisel: Library of Dust

 

"Library of Dust depicts individual copper canisters, each containing the cremated remains of patient from a state-run psychiatric hospital. The patients died at the hospital between 1883 (the year the facility opened, when it was called the Oregon State Insane Asylum) and the 1970’s; their bodies have remained unclaimed by their families.

"The approximately 3,500 copper canisters have a handmade quality; they are at turns burnished or dull; corrosion blooms wildly from the leaden seams and across the surfaces of many of the cans. Numbers are stamped into each lid; the lowest number is 01, and the highest is 5,118. The vestiges of paper labels with the names of the dead, the etching of the copper, and the intensely hued colors of the blooming minerals combine to individuate the canisters. These deformations sometimes evoke the celestial - the northern lights, the moons of some alien planet, or constellations in the night sky. Sublimely beautiful, yet disquieting, the enigmatic photographs in Library of Dust are meditations on issues of matter and spirit."

 

http://davidmaisel.com/default.asp