Lewis Chaplin is a London-based photographer. His outstanding work deals with the perception of reality and is influenced by his Anthropology studies. He is co-founder and curator of Fourteen-Nineteen. Chaplin’s photographs have been exhibited both in London and across the pond; his commissioned work has appeared in such publications as Spin, Vice and Dazed & Confused.
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Perhaps Dorothea Lange was right when she said “it is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer”. Adrianna Glaviano is not a photographer by accident: she’s the daughter of Marco Glaviano, one of the best-known and most celebrated Italian fashion photographers, and she has grown up in the photography world. However, leave aside prejudices and preconceptions, because she’s talented on her own terms. Her pictures possess an undeniable pathos: natural, fluid, sometimes deliberately casual but without any artificial smoothness. They are personal and delicate images, which capture everything and always reveal a sense of participation and mutual understanding with her subjects.
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José Pedro Cortes has studied photography at Ar.Co (Lisbon) and completed a Master of Arts in Photography at Kent Institute of Art and Design (Rochester, UK) in 2004. In 2005, after 3 years living in London, he moved back to Lisbon and was part of Gulbenkian Creativity and Artistic Creation Programme in Photography (Lisbon). On that same year had his first solo exhibitions in Centro Português de Fotografia and Silo, both in Porto, Portugal. Cortes was also selected for the Photo London – Emerging Artists Presentations and took part in the Getty Images curated exhibition New Photographers 2007. In 2006, he published his first book ‘Silence‘ and has been exhibiting regularly since then.
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Ori Gersht - Time After Time & Blow Up [2007]
The large-scale photographs entitled Blow Up depict elaborate floral arrangements, based upon a 19th Century still-life painting by Henri Fantin-Latour, captured in the moment of exploding. Gersht´s compositions are literally frozen in motion, a process dependent on the ability of the advanced technology of photography to freeze-frame action. This visual occurrence, that is too fast for the human eye to process and can only be perceived with the aid of photography, is what Walter Benjamin called the ‘optical unconsciousness’ in his seminal essay ‘A Short History of Photography’. Flowers, which often symbolise peace, become victims of brutal terror, revealing an uneasy beauty in destruction.
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Trevor Paglen’s work deliberately blurs lines between science, contemporary art, journalism, and other disciplines to construct unfamiliar, yet meticulously researched ways to see and interpret the world around us. His experiments have produced powerful insights into the photographic calibrations between the visible and the invisible, homing in on the sub rosa installations of the American military both on the ground and in the air. With his latest exhibition, “Unhuman”, Trevor Paglen advances his ongoing investigation of what he terms the history of “seeing with machines.”
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Caitlin Teal Price was born in 1980 in Chicago; she lives and works in Washington D.C. Her work has been featured in The New Yorker, The Washington Post Magazine, Details, Vice, Vogue, Nylon and Capricious Magazine; she has also collaborated with Sony Music and Universal Pictures.
In her photography, light is like a knife: it sharpens, it cuts in half, it tears apart. Light hits the subject in the eyes and paralyzes him.
Price loves the bodies as well – but not those perfect figures honed in the gym. In the series “Washed Up” you’ll find only old, drooping, fat bodies; they lay still on the beach, and we seem to be called to inquire into their life.
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After the serial (and media-powered) intoxication of vintage, nudes and point & shoot, a fierce handful of young artists is asserting itself through photographs characterized by a strong experimental trait, which expresses subtle and complex relationships among the genres of portrait, landscape and still life. Their work draws on the descriptive power of photography, nonetheless its basis lies in the language of conceptual art and derives more from a mediation and manipulation process than from spontaneity. They are certainly influenced by the innovative experience of photographers such as Wolfgang Tillmans, Roe Ethridge, Elad Lassry and Anne Collier – different one from another, but sharing the ability to renegotiate the space and to re-examine the possibilities of apparently banal pictures of plants, landscapes, food and animals.
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An exhibition of new work by Sam Falls, a two-part exhibition of painted photographs, works on paper and sculptures on view at both M+B and China Art Objects, Los Angeles.
The work in this show is involved with my interest in representing time, its persistence and the signs of life present in the inanimate. Using photographic processes combined with sculptural and painterly material, I’m trying to give a feeling to constant variables — like light and weather — as well as our relative experiences of time. Some of the artworks capture a space and expand it, some look at the space within methods of production and their controlled aesthetics and others look to bridge the gap between viewer and artist by offering a dialogue to be created with the object itself and an evolutionary relationship to persist over time with the viewer.
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Alexi Hobbs was born in Montreal. He loves colours, light and scotch (preferably the smoky kind). In his photographs there are a lot of hands: hands touching, grazing, picking things up. And then there are those Canadian landscapes that make one want to get on a plane and leave. He exhibited in Montreal, Moscow and New York.
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Among photographs of kittens, self-portraits of more or less clothed girls posing in front of a mirror, faces hidden behind a plant or by dresses hung in a closet, and other stuff that exploits too well-known stylistic features, every now and then some little treasures manage to surface and it’s good and right to talk about them.
For those who still didn’t know, Disturber has a Flickr group and we intend to make the most of it. So we have decided to publish, every now and then, a selection of the best photographs presented by our users. (on top, photograph by Roberto Rubalcava)
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