I re-discover parts of my cultural heritage, portraying the different facets of the life of mountain villages in between the Italian and Slovenian borders. What I found was a community of survivors. (more…)
Using actors within carefully considered settings, Hannah Starkey’s photographs reconstruct scenes from everyday life with the concentrated stylization of film. Starkey’s images picture women engaged in regular routines such as loitering in the street, sitting in cafes, or passively shopping. Starkey captures these generic ‘in between’ moments of daily life with a sense of relational detachment. Her still images operate as discomforting ‘pauses’; where the banality of existence is freeze-framed in crisis point, creating reflective instances of inner contemplation, isolation, and conflicting emotion.
Through the staging of her scenes, Starkey’s images evoke suggestive narratives through their appropriation of cultural templates: issues of class, race, gender, and identity are implied through the physical appearance of her models or places. Adopting the devices of filmography, Starkey’s images are intensified with a pervasive voyeuristic intrusion, framing moments of intimacy for unapologetic consumption. Starkey often uses composition to heighten this sense of personal and emotional disconnection, with arrangements of lone figures separated from a group, or segregated with metaphoric physical divides such as tables or mirrors.
Often titling her work as Untitled, followed by a generalized date of creation, her photographs parallel the interconnected vagueness of memory, recalling suggestions of events and emotions without fixed location or context. Her work presents a platform where fiction and reality are blurred, illustrating the gap between personal fragility and social construction, and merging the experiences of strangers with our own.
I re-discover parts of my cultural heritage, portraying the different facets of the life of mountain villages in between the Italian and Slovenian borders. What I found was a community of survivors. (more…)
Bodyfulness consists of a series of photographs and musical compositions revealing the potentials and paradoxes of digital intimacy. The work is accompanied by video referring to popular online voice-guided meditations (more…)
Flavio-Shiró is a cult artist, a painter’s painter. His work defies categorization or association with any artistic group or movement. For more than six decades, his work has simply been modern.
Artpil is accepting submissions of Profiles, Articles, and Announcements. With a focus on modern + contemporary arts, Artpil provides stories, event news, exhibition guides and interviews, featuring profiles of artists of all disciplines (more…)
Jasper Johns was an artist that came onto the scene in the 1950s. Much of the work that he created led the American public away from the expressionism form, and towards an art movement or form known as the concrete. (more…)
Allan Sekula was an American photographer, writer, critic and filmmaker. Born in Erie, Pennsylvania in 1951, he lived most of his life in Los Angeles and the surrounding regions of southern California.
A striking new photographic voice engages with street portraiture to create dark, interior psychological spaces exploring the relationship between public and private lives. (more…)
303 Gallery is proud to present an exhibition by Stephen Shore, of photographs from the artist’s series Survivors in Ukraine. This body of work was shot in Ukraine in 2012 and 2013 (more…)
Born on May 1, 1968 in Bordeaux, France, Alain Laboile is a photographer and father of six. In 2004, as he needed to put together a portfolio of his work as a sculptor, he acquired a camera, and thus developed a taste for macrophotography (more…)