Some of Johan Bergström’s work is quite conceptual, but there should be something for everybody on his site. The Spectators is work in progress, I am curious to see more.
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Gabriele Basilico is an Armory Show discovery for me. I found two of his images from Beirut, which, I think, is by far his very best work. See more images, plus some text, here.
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Those who can’t get enough of typologies will enjoy Eric Tabuchi’s website (via).
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I found the link to Pétur Thomsen’s Imported Landscape over at 1/125. I personally like Thomsen’s Umhverfing even better.
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I wish Francesco Millefiori’s portfolio was organized a little better, with some background text for the different bodies of work, but I like the photography regardless.
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With Island, Roderik Henderson seems to have transformed the inside of an elevator into a portrait studio. The results are spectacular.
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I can’t escape the feeling that our fascination with the ruins of Detroit mirrors that of Victorians who’d flock to Pompeii. We have a description for this: ruin porn. But there are still people living in Detroit, quite a few actually; and their story usually seems to get overlooked or ignored. It sure is easier to go to Detroit, take some photos of ruins and have those illustrate some story about the decline of America, isn’t it? So I was glad to find Daimon Xanthopoulos’ Detroit, stories from a city in free fall, which is filled with photographs of people (via, where there are more images). Also see this story.
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I found Andy O’Connell’s work over at The Black Snapper, but I was unable to dig up another site with images. That’s too bad, I’d really like to see more of his work.
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“With my camera in hand I go on urban explorations of man-made architecture that once served a purpose and held a promise of a brighter future, yet has been deserted and left to decompose. Now like outcasts the buildings sit unnoticed waiting to be discovered again. ” - Magda Biernat
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João Margalha’s Wonder examines the relationship between Nature and humans trying to leisurely spend time in it (often in areas heavily modified).
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Francisco Reina’s Strauss’ Legacy is a bit on the obvious side, but his other projects are quite interesting. I’m not sure I understand all of his project statements, though. (thanks, Wesley!)
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Reinis Hofmanis’ photos of art models might be the best ones I’ve seen so far (via).
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“These bleak images from Siberia, which I once gave up as lost due to an accident in development, have been brought back to life through careful scanning. By putting contradictory feelings side by side, I tried to recreate the rudeness and the fullness of this landscape.” - Emile Hyperion Dubuisson about his Siberia, the far north (I like the exterior shots much better than the interior ones)
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Philippe Piron’s portfolio is filled with dystopian images taken in French suburbs and business-parks. Some of the projects could use a tighter edit, but all in all, it’s a chilling reminder what we have turned many of our environments into.
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The title of this image by Kirill Kuletski is “Allergy hospital smoking area,” which brings up so many questions (Smoking? Underground? In an allergy hospital? Which is really just some underground mine? What part of that corner is that “area”? And what allergy hospital allows its patients to smoke? etc.). The image is part of Speleotherapy.
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Szymon Roginski’s o mia o, a collaboration with Kasia Korzeniecka, is one of the most inventive fashion photo projects I’ve seen in a long time - the image show actual three-dimensional objects, arranged to re-create the original photographs.
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Hubert Blanz’s photography is digitally assembled. What makes it interesting for me is that you can see that things are not the way they should be, but the different elements of the images are still believable enough. (via)
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“Common Place is a visual exploration of Ireland during the recent period of rapid cultural and economic change and trace the visual contradictions embedded in urban and rural topography. Photographed throughout Ireland these photographs look to the everyday landscape, at the often overlooked local place and space.” - Eoin o Conaill
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Some of Tuomo Manninen’s Group Portraits are very entertaining, in a camp sort of way - not sure that was the intention, but it’s oddly fascinating.
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Michael Collins’ photography shows contemporary British landscapes, with a focus on industry - out of commission, under construction, or working.
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Lorena Ros’ project Survivors is “based on a series of portraits of adults as survivors of sexual abuse who believe that showing their faces and disclosing their stories to the world will contribute to the prevention of future abuse.” (via)
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With his series Rural landscapes in Transylvania, Horatiu Sava is “showing villages far from the main traffic arteries, places where the progress isn’t fully visible.” (via; only after picking the image I realized that it provides support of the idea that if you buy a red car, it’ll really make people look)
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Some of Jose Javier Serrano’s work might have been inspired by other artists’ work, but once you start looking through the various portfolios you’ll probably be surprised by some of the stuff you’ll find.
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“For three periods of one month, I have let the Trans-Siberian train guide me alongside forgotten villages, from living room to living room. Some Russian words, scribbled on a little piece of paper, allowed me to be welcomed and absorbed in the warm chaos of a family. Accidental encounters led me to the places where I could sleep. The living room, the epicentre of their life, establishes an intimate contact between the Russian inhabitants. In this room, they sleep, eat and drink as well as cry. For a brief moment, I was part of this.” - Bieke Depoorter
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Stuart Griffiths has been documenting the lives of veterans in both the UK and the US for years now, and his portfolio is filled with many haunting images. (via)
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I am very fascinated by unusual people, so Amanda Jackson’s British Eccentrics is right up my alley. I just wish there were a few more pictures.
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I’m impressed by Margaret M. de Lange’s project Daughters. While it occasionally seems to be a bit influenced by other photographers, it avoids the kind of sentimentality that always risks turning this type of photography into kitsch.
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It’s tempting to take the use of colour in Trine Søndergaard’s Monochrome Portraits (via) as what makes these images, but I actually don’t think that’s the case - that would reduce everything to visual gimmickry. Instead, the work lives from the photographs themselves and how they work. I am curious how this all will look in the context of the book that is due out - with things being conceptual, there is always the danger of the conceptual bits overwhelming the photography (so that once you “get” the concept there is nothing left to be seen).
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“Thames town is an English style new satellite town built close to Shanghai as part of the local governments ‘One City -Nine Towns’ plan.” - Dave Wyatt
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The boys in Flemming Ove Bech’s series of the same time don’t all look as if “Life is a pop of the cherry” (David Bowie), which makes me think there is some humour hidden in here, somewhere.
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Alexander Gronsky’s Pastoral (via) is the Russian equivalent of Eirik Johnson’s Borderlands. Beautiful work.
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Eric Lusito’s After the Wall is not the first body of work to chronicle abandoned Soviet bases, but with its mix of photography and found photographs and propaganda material it might be the best I’ve seen so far.
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If you’re in need of stuffed animals (“taxidermy” makes it sound fancy) Andrew Tunnard shows you how it’s done.
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You need to be a little bit patient with Liza Faktor’s website (since it loads rather slowly), but there is a lot of photography to discover. Apart from being a photographer, Liza has also been working as a photography producer and curator.
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Max Sher’s website features several of his stories shot in Russia - lots of beautiful photographs.
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Andrej Krementschouk’s portrayal of Russia is subject of his book No Direction Home (this page contains higher quality images than the photographer’s site - thanks, Leo!).
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“What I struggle with is that every thing excites me, cities, supermarkets, roads, dirt, rubbish, car parks, advertising, people, deforestation, excavation, fires, floods and violence. All of these things can be beautiful, yet I see the damage; the pain the obscenity of everything. When I am in the city, I long for the country the open space around me, yet in the city I enjoy all that goes on around me.” - Teo Ormond-Skeaping
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My posting of Patrik Budenz’s Post Mortem made Robert Phillips (thank you!) send me the link to Maeve Berry’s Incandescence. The gallery page has larger images and an artier description, but I like the artist’s better: “The images we will never see of ourselves.”
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For those interested in conceptual portraiture (if we want to call it that), there is Natalia Pokrovskaya’s Control: Portraits of people while they’re listening to music (compare this with Bettina von Zwehl’s work btw).
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This is “Miss Toe Tease” from Kate Peters’ Yes, Mistress (probably nsfw), which, however, has nothing to do with the meaning of the word “mistress” so well known from recent US politics (for nitpickers: granted, it could, but that’s not what the project is about).
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Toby Coulson’s “Allaleigh” very nicely mixes portraits with landscapes and still lifes. I just wish I knew a little bit more about the work…
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More portraiture: Laura Pannack (via)
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Peter Funch’s photographs look like street photography, even though in reality it’s constructed from many different individual images. In some images the effect is pretty obvious, in others less so.
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Matthieu Raffard spent some time in the Ukraine and took series of photographs there (“Ukraine”, “Sanatorium”, “Teenage”) - the above photo is from “Sanatorium”, probably my favourite of those three.
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“The ‘Serbian War and Liberation Monument Installation’ is a recent work in which I chose to isolate war memorials from their surrounding and de-historicise them by placing them on to a neutral background. The Monuments that where built between 1919- 2000 represent many wars that where fought in that time and their different ideologies.” - Benjamin Beker (compare Jan Kempenaers’s work; thanks, Stuart!)
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While David Trautrimas’s buildings are not real, Jan Kempenaers’ are: “In the context of his ‘Spomenik: The End of History’ project, Kempenaers has photographed monuments erected by the communist regime of former Yugoslavia.” (source)
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“The unregulated recycling industry in India takes place in thousands of extremely small, backyard workshops. Many of these locations are also people’s homes.” - Sophie Gerrard, in her series E-wasteland
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Eric Rondepierre produces his images using decaying old film material and other sources - there are a lot of great images/ideas to be found on his site!
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I really like Annabel Elgar’s series Refuge, and I wish I could find out more about it. Unfortunately, on the website there is only a text written by someone else, which, with its combination of vague art speak (“process of allegorical bricolage”) and bad cliches (“a bleak Orwellian vision of sad bedsits, neglected kitchens and subterranean basements”), I find offputting.
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Lens Culture just published a feature on Adam Panczuk’s Actors - great work. Check out his other work on his website, especially Foster Family.
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