You are currently browsing the category archive for the ‘Convergence’ category.
'Untitled', from the series Farewell in Labrador, 2010 by Kurt Tong
Kurt Tong‘s work is being plugged by HeyHotShot. The image above reminded me of Stanley Greene‘s image from his Shadows of Change essay about climate change in Greenland.
©2009 Stanley Greene/NOOR
Khuong Nguyen’s ‘Wrestlers‘ reminded me of Sam Taylor-Wood’s Crying Men series which reminded me of Marina Abramovic’s latest turn.
Be it commercial art, fine art or performance art, crying is good. Isn’t it?
© Khuong Nguyen
Source: Nguyen’s Behance, via The Photography Post
Jude Law, from “Crying Men,” 2002-2004
C-print © Sam Taylor Wood
Source: Williams College Museum of Art
Source: marinaabramovicmademecry
Last Thursday, from two blogs of consistent quality, my Google Reader threw up these two images in quick succession.
© Pedro Ramos
Source: TooMuchChocolate. Jackson Eaton interviews Pedro Ramos.
The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter in War Zone C, Vietnam, in 1966. © AP Photo/Henri Huet
Source: The Online Photographer. Random Excellence: Henri Huet
– – – – –
View the Prison Photography archive of Convergences.
Do you remember last year when Olafur Eliasson installed his waterfalls in New York City? Well, 40 years ago Isamu Noguchi did this in Osaka. Just thought you should know.
© Laura Pannack
Laura Pannack is based in the UK and Lydia Panas in the US.
Pannack deals with the awkwardness and the concealed emotions of adolescence, Panas deals with the small gestures between family which may or may not infer awkwardness and concealed emotions.
The bare back, the turned back, the turned head, the caught glimpse and the avoided glance are all enticing props for a charged portrait.
Through their eye contact, both Pannack and Panas’ subjects foolishly ask us questions. Foolish because, let’s be honest, what do we know about childhood or teenage conundrums?
© Lydia Panas
© Laura Pannack
@ Lydia Panas
© Laura Pannack
© Lydia Panas
© Laura Pannack
© Lydia Panas
And Still We Gather With Infinite Momentum 1. © Justin James King
© Justin James Reed
Both of these photographers deal with big spaces in different ways.
Maurizio Anzeri
Asger Jorn
Ever since Maurizio Anzeri was roundly acknowledged as the star (here and here) of Paris Photo last November, his embroidered portraits have hung in a stasis awaiting the key association which my visual memory was willing upon them.
It only took six months, but the penny of association dropped: Asger Jorn‘s Defigurations (1962). Both artists appropriate existing images with humour, a touch of spite and avian motifs.
As Jorn used flea-market paintings and vintage subjects, so Anzeri picks up vernacular photographs and family portraits. Given their choice of materials you might think that they hold some reverence for the original object, and yet their surface interventions are violent, in most cases obliterating recognisable features.
Maurizio Anzeri
Asger Jorn
Maurizio Anzeri
Asger Jorn
Prison Photography 