Occurring tomorrow (4/4) at the Dallas Contemporary, and featuring a whole bunch of top names in the art world.
A series by Daniel Kukla involving the interior environments for animals at 12 different zoos across the U.S and Europe.
If you’re an idiot, you might look at Jason Nocito’s beautiful new book, designed by Ari Marcopolous and Camilla Venturini and premiering sixteen new photographs, and say, “It’s a bunch of pictures of puddles.” And you wouldn’t be totally wrong. Aptly titled PUD, Jason’s new book does heavily feature stunning large format images of iridescent pools filled with cigarettes and leaves, but it a lot more than that. It’s an ode to Charlie Brown, death, and American street photography, for starters. I called up Jason while he was working in Los Angeles so he could explain it to all the idiots.
CHRISTIAN: I got a look at the book. It’s beautiful. It’s shorter than what I’m used to but I think that really works well.
JASON: I guess it’s shorter but I don’t really see it as a one-off, done deal. I don’t think of it as a conscious project, it’s just a body of pictures that I put together.After making I Heart Transylvania, which was a larger body of work, this is like the beginning of something else for me. I Heart Transylvania was very personal, and so is this work, but in a different way. It’s personal without showing any humans, which is really different than I Heart, which showed a lot of close people in my life.
You shot the whole thing on an 8×10 view camera, correct?
Yeah, it started a few years ago when I as talking to a friend about Ten Swimming Pools and a Broken Glass, the Ed Ruscha book. I guess it started before that actually, when I moved back to New York from Vancouver. Every place I am, I want to make photographs. I’ve never been the person who says I’m going to go to this place and do this project and do it and be done. I’ve always kind of hated that, it’s not what I’m about. I was living in New York and I was burnt out professionally and emotionally. I would walk around the city all the time with my head down, like a lot of people do, and I would see all these things. That’s what I was looking at, so that’s what I photographed. A lot of that stuff is made right in my neighborhood in Chinatown. I tried it a few different ways with different kinds of cameras but at one point I met with my friend and photographer, Danny Gordon, and we talked about 8×10 large format camera. Its a different process and a different microscope to look at things. I started playing around with it.
I’m also really interested in the 8×10 process and the way that, in five or ten years, the process will probably be gone. It’s sort of a slowly-dying way to make images and the film will probably be impossible to get in the near future. I was really interested in using it as of an extension of thinking about death.
A necessary series by Jonpaul Douglass
Alexandra Hay was an actress in the 1960s and 1970s.
Palmes pour memoire is a 1991 book compiled by Pierre Marc Richard featuring photographs that include palm trees—from the mid-1800s until the time of publish.
Tokyo Compression by Michael Wolf
Paintings by Hiro Kurata
On view at 837 Washington Street through April 4th, 2014
We’re particularly fond of Emilia Olsen’s paintings of plants, which feature soft colors and thick layers of oil. “I’m really inspired by layering,” Emilia told The World’s Best Ever, “thick paint application, patterns, repetition—actions that evoke tedium. I’ll start a painting by using a blank canvas as a palette for another work, and build on top of the palette canvas until I feel ready to begin the actual painting.” The South Africa-born New York-based artist is also inspired by peers like Jonas Wood, Yayoi Kusama, Allison Schulnik, Daniel Heidkamp, Ellen Altfest, Wes Lang and Mat Brinkman.
Emilia started painting plants as an escape from her previous work, and as part of her obsession with gardening and houseplants. “I paint from life, photos, and from my imagination,” she says. “It’s not necessary for my plants to be fully representative of the real thing, but succulents can be so strange that it’s nice to get ideas from them. It’s also important to me that the painting plants keep a sense of reality, in terms of how they grow, how leaves reach towards light, or hang. It gives the more unrealistic parts of my paintings something to grip on to.”
The “unrealistic parts” include the addition of eyes, which keep in line with her previous, more whimsical work. “I like thinking of plants as having their own personalities and I like the idea of them bearing silent witness to our lives,” Emilia says. “The eyes are playful, shifty, judgmental, creepy, and perhaps even anxiety-inducing. They remind me of the kind of silly things I would worry about as a child—that my toys would feel neglected if I didn’t play with them enough, or that they were judging my embarrassing moments.”
25 Grams is a feature that culls pictures from some of our favorite instagram feeds.
Chris Heads is a photographer splitting his time between Milan, Paris, and NYC.
He can be followed on instagram at @chrisheads
For his series Pastel Deaths, photographer Emir Özşahin humanizes dead animals by showing them as if they were sleeping.