Archives For Art
Frieze New York May 10 – May 13, 2013 @ Randalls Island Park on the East River
Frieze New York features over 180 of the leading contemporary art galleries from all over the world. Tickets to Frieze New York 2013 are only available online and in advance.
Want to see a nice selection of artworks from Frieze Week (from the comfort of your home) go HERE
via the web site
The photography world was introduced to Hiroshi Sugimoto work via his Dioramas and long exposures of films in movie Theaters. But Sugimoto was always after bigger game. Part scientist and part Shinto priest, part photographer and part sculptor. His subjects range from visualizing mathematical formulas to architecture, clothing and even designing Shinto Shrines. For me it seems what he is really after is finding a way to capture the infinite…
See the excellent PBS piece of this singular artist speak about his work here and his work at Pace Gallery here.
via Pace Gallery
Dogs wait for us. That’s just what they do. With cinematic lighting and sometimes borrowing from the great Film Noir lighting directors of old, Martin Usborne works hard getting his images for Dogs in Cars just right. See why an Instagram mentality just can’t get the job done in this wonderful series about the waiting game of lonely canines.
via the artists web site
Diasec is a patented process used for face-mounting Chromogenic prints to plexiglass and became very popular in the 1990’s by artist such as Andreas Gursky. C-prints fade whether they are mounted to plexiglass or not. Plexiglas just adds more complications. Because of this I switched to more permanent processes but many very well known artists continue to use this long out of date technology which is a puzzle for me to no end. C-print Mounted to Plexiglass & the Issues with Fading is a huge concern you need to pay attention to.
via the best printer in NYC: http://laumont.com
Gursky was one of the first artists to make oversized c-prints. “If you were going to make big colour prints in the early 1990s, you had to do it chromogenically,” says Wilson. “Inkjet printing was just not good enough then.” Because c-prints on this scale are relatively recent it is only now that collectors and conservators are starting to understand fully the challenges of maintaining such works.
Another issue with Gursky’s work is that each image is face-mounted; a layer of Plexiglass is placed on top of the image and, in effect, the picture is fused to it. Conservators say they do not yet know if this process, which gives photographs a slick, wet look, accelerates degradation. Plexiglass is also sensitive and scratches easily. Because the image is fused to it, it cannot be replaced the way a layer of glass would be.