July 21, 2014

My photo of Areni Agbabian was in the New York Times this weekend. Here’s a link to the online version if you missed it.

July 18, 2014
tuesday-johnson:

ca. 1850, [daguerreotype portrait of an eagle]
via the Nelson-Atkins Museum of Art, ‘In the Looking Glass’ Exhibition

tuesday-johnson:

ca. 1850, [daguerreotype portrait of an eagle]

via the Nelson-Atkins Museum of Art, ‘In the Looking Glass’ Exhibition

July 18, 2014
free-parking:

Fragment of the face of a queen, yellow jasper, c. 1353–1336 B.C. Middle Egypt

free-parking:

Fragment of the face of a queen, yellow jasper, c. 1353–1336 B.C. Middle Egypt

(via cavetocanvas)

July 17, 2014

likeafieldmouse:

Zachary Norman - Exotic Matter (2014)

July 15, 2014

I’m working on a project call The Intentional Object.

    Phenomenology is the philosophical study of “phenomena”, or rather, the structures of experience and consciousness. These phenomena are called intentional objects. In plain terms, the intentional object is something that is not seen, but experienced, and is a response to the way in which a person processes the world around them.

     The Intentional Object is an experiment in making visible an aesthetic process that is typically invisible. It’s a known fact that most images are retouched. This is nothing revolutionary; however, can you pinpoint the methods of which that where effected? The artifice of the work is that which is unseen, it’s the invisible which shapes our understanding of the world around us, as well as, without saying a word, communicates social constructs about what we believe to be beautiful. As a staple to contemporary photography, I’m looking to take retouching out of it’s normal contexts (fashion, beauty, and advertising photography) and highlight it not as an accessory to a output, but a focal point. What happens when the intentions of the image have changed; when retouching is the desired result and the original content is a means to that end? I’m interested in the formal qualities of this specific process while reimagining the physical form and what it means to make a photograph.

 

July 6, 2014
zeroing:

Raluca Avramut

zeroing:

Raluca Avramut

(via 2headedsnake)

July 6, 2014
pursuable:

Jakob HunosoeYellow Bags, 2007From the series Full Moon Mirror

pursuable:

Jakob Hunosoe
Yellow Bags, 2007
From the series Full Moon Mirror

(via meetmeinchatroulette)

June 30, 2014

likeafieldmouse:

Shannon Finley

June 30, 2014

reversepenoptic:

Cerca Paseo de Mart, Desiree Dolron (2002)

The Photograph as Contemporary Art, Charlotte Cotton (2009)

June 26, 2014
New post from The HAND! Issue #5 is available for pre-order. It should be ready for me to put in the mailbox for you the week of July 7-11. This issue has a great feature on Kaden Kratzer and the Antiquarian Avant Garde Art and Process group (written by Jacqueline Webster), an artist spotlight on printmaker Evan D. Summer, a really cool wrap-around cover by Danielle Ezzo, AND a really sweet feature and limited edition print by none other thanlouviere + vanessa!! It’s our anniversary!! Woohoo!! Check it out!

New post from The HAND! Issue #5 is available for pre-order. It should be ready for me to put in the mailbox for you the week of July 7-11. This issue has a great feature on Kaden Kratzer and the Antiquarian Avant Garde Art and Process group (written by Jacqueline Webster), an artist spotlight on printmaker Evan D. Summer, a really cool wrap-around cover by Danielle Ezzo, AND a really sweet feature and limited edition print by none other thanlouviere + vanessa!! It’s our anniversary!! Woohoo!! Check it out!