by Gabriella Radujko
on April 15th, 2012
Centrifuga, 2011 by Rafael Barrios © Gabriella Radujko
Photographs Not Taken
There are the photographs not taken
An aged, elegant couple
sitting on a 5th Avenue park bench just north of the Met
matching blue-tinted eyeglasses
serenity in their long couple-hood
a “biopic” of quiet seated before the volta
A widow living in a tenement built by Mussolini
tending to a crude distillery housed in a Mussolini granted garage
the quiet drip drip drip of slivovica welcoming visitors to sit
in the deplaned seats of the now defunct Jugoslavenski Aerotransport
Wearing a stained, but clean apron
this simple, yet noble woman, is unknowingly part of an image
solely recorded by grey matter
A recently slaughtered calf hangs from a hook on the ceiling of a farmer’s work room
slowly dripping its blood in anticipation of the butchering
Tiny raised glasses of herb-infused liqueurs toast the beast
foreshadowing the soon to be prepared tripe, stews and soups
And the pic formed by a talented, but short-sighted gallerist in a town house gallery
standing before walls once rioted with iconoclastic works
most resting in storage now, unseen, unaccompanied, and increasingly
unremarkable with their exile
Clean white crew neck T-shirt over standard Levi blue jeans
a nod to basic good taste and handsomeness
minus the scarred belly clothes would later hide
Untaken photographs, but photographs nonetheless.
Gabriella Radujko
http://modernartswriting.wordpress.com/
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by Artcards Review
on April 3rd, 2012
Loren Connors, Julien Langendorff, Jim Jarmusch, Hiraku Suzuki (photo: Louie Metzner. courtesy of Opalnest)
Hiraku Suzuki (photo: Louie Metzner)
Photo: Amy Mitten
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by Gabriella Radujko
on April 2nd, 2012
Film Noir #1405 Bill Armstrong
All photographs courtesy Sam Matamoros
The Aipad Photography Show in New York, held March 29-April 1, 2012, continues to unite the past with the future of fine art photography under one glorious roof at the historic Park Avenue Armory. Here, the past’s usefulness is on display as prescribed and thoughtfully described by Israel Zangwell–namely, the past is for inspiration (not imitation) and continuation (not repetition). Continue Reading More »
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by Gabriella Radujko
on March 23rd, 2012
Aerotone #7 © Ryan Zoghlin; all photos courtesy Photo Review
The complete portfolio of competition winner images can be viewed at: http://www.photoreview.org/competition/portfolio.php/38/1
Ryan Zoghlin is the First Prize winner of the 27th annual Photo Review International Photography Competition juried by Robert Mann.
Gabriella Radujko: Thematically, your portfolios explore being “on an edge” or “on the edge” (as opposed being edgy). These include:
- Surf-o-glyphs: where surfers are on the edges of water
- NIMBY (Not in My Back Yard) where industrial power encroaches on the periphery of modest single family homes
- Aerotones and Airshow which capture airplanes performing aerobatic maneuvers at the Chicago Air and Water Show
Why does this theme appeal to you?
Ryan Zoghlin: I am glad you ran a thread through these works. Maybe it’s just that things are more interesting where worlds intersect. Whether this is where the water’s edge meets the land or when the circus rolls into a small town. On the edge is where relationships and juxtaposition can be complicated and hopefully more visually interesting. Continue Reading More »
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by Gabriella Radujko
on March 15th, 2012
Photo: Sam Matamoros, © 2012
Lately, the fine art photography community has been experiencing a tsunami of discoveries which include the resurfaced photographs of Robert Frank, negatives by Lillian Bassman, and more intriguingly, actual photographers themselves. The new, posthumous content, while incredibly exciting, is no match for the discovery of the unknown (until 2007), self-possessed, prolific photographer named Vivian Maier. Continue Reading More »
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by Artcards Review
on March 9th, 2012
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by Kristin Trethewey
on February 18th, 2012
PRESS ESC TO EXIT FULL SCREEN MODE, 2011
I’m trying to describe the feeling I had when I first met Santiago Taccetti and saw his artwork. As he scrolled through his website showing me piece after piece I became excited about what he was doing in his art practice. Images of installations, paintings, video and prints all emphasized a similar consideration and viewpoint toward our relationship with technology and the pervasive aesthetic that has emerged. What’s incredible is that Taccetti translates this across artistic disciplines, which to me means you are onto something. His work floats on the white page of a website with the same ease that he builds a sculpture or paints. This delicate sensitivity towards contemporary aesthetics is something we are all becoming more attuned to through the web. To make a comparison I have a historical anecdote. As a kid watching way too much television I became a super critic of TV and movies. The editing, lighting, sound and costumes all spoke to me. I understood this medium naturally and could differentiate between incredibly subtle details and differences. The web is developing a similar critical and aesthetic awareness and Taccetti’s artwork translates this like a mother tongue. His work represents a certain perfection that is more than real–it is actually unreal. It is the aesthetic of the machine. And strangely after viewing his work I began to perceive the city differently. I started to see the digital aesthetic everywhere, permeating the real world. Continue Reading More »
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