”Filippo Minelli started the ongoing series Silence/Shapes in 2009 to give a physical shape to silence.
As medium to realize his idea he chose chemicals used to create smokebombs and to juxtapose them with the romantic idea of beauty of the natural landscapes.

In the works of the series ‘Silence/Shapes’, commenced in 2009, the artistic research of Filippo Minelli has reached a high degree of synthesis and concentration that combines mastery of the aesthetic codes with language awareness and the ability to express complex content in a mediated way, through a dialectical perspective in permanent balance between transparency and opacity.

Starting from the observation on a purely descriptive level, these photographic artworks present themselves as natural landscapes or industrial archaeology in which we see “exploded” and spreading coloured smoke substances, jarring both thematically and visually with the context and the setting. There is no fortuity, nor documentary intent, but everything is built and composed with extreme attention given to formal and technical qualities.

The reading levels are varied: the one by Minelli is an art of stratified density which does not give up either the aesthetic message, or the transmission of conceptual meanings, multiple, multifaceted and intersecting each other.”

for more information please filippominelli.com

The post SILENCE / SHAPES By FILIPPO MINELLI appeared first on INHALE MAG.

Tom Blachford

Melbourne, Australia based interiors/architecture/travel photographer.

The photographer had the brilliant idea to connect the nostalgic inspiring architecture of Los Angeles’s suburbs with the nausea inducing glow of the moon in creating a series of shots that work as well together as toasty bread works with butter.

You will find Tom Blachford prefers to be quiet about his biography and that his website features not a lot of information about his profession or projects. Still, his website is worth a look as there are other images that mirror the style used in this project.

follow up tomblachford.com for more

The post Midnight Modern by Tom Blachford appeared first on INHALE MAG.

WIM WENDERS | TIME CAPSULES. BY THE SIDE OF THE ROAD. WIM WENDERS’ RECENT PHOTOGRAPHS

17 September 2015 – 14 November 2015

Berlin

Blain|Southern Berlin is delighted to present new and recent photographs by Wim Wenders, the artist’s first exhibition in his hometown in over half a decade. The exhibition brings together images of Germany and America – the two countries that have most influenced the artist throughout his career.

for more information please visit blainsouthern.com
Images courtesy of the artist and Blain Southern

The post WIM WENDERS, TIME CAPSULES, BY THE SIDE OF THE ROAD appeared first on INHALE MAG.

from the artist

the pool

In the Pool series I utilize photography’s ability to create visual narratives, which echo moments from my childhood. The choice of a unified color palette, with saturated and bleached-out tones, reminds one of the qualities of home movies and reinforces the ambiguous relation between reality and fiction. Beyond my personal memory it’s also a collective memory I am trying to reveal through the common and universal experience of leisure and bathing. In my work I also focus on the notion of space and the relationship we entertain with the environment in which we live. Swimming pools and beach resorts are interesting to me for they represent a dominant theme of modern life in our culture. They also mix the natural element of water with the cultural and social element of manmade spaces where people can escape from everyday life and seem liberated from any social reference. Although their activities and expressions are familiar and spontaneous, the scenes appear composed by a silent choreographer when moments are isolated and frozen within the frame of the camera.

for more information please visit karinelaval.com

The post The Pool by Karine Laval appeared first on INHALE MAG.

These images and others may be viewed in Sidney at Koskela Art Gallery, for more information please visit koskela.com

The exhibition is open to the public from 8th August – 27th September 2015, with a launch event at 2:30pm Saturday 8th August.

Koskela
85 Dunning Ave
Rosebery, NSW

images courtesy of brookeholm.com.au

The post BROOKE HOLM, ARCTIC @ Koskela appeared first on INHALE MAG.

”Sean Kelly is delighted to announce From Düsseldorf, a solo exhibition of recent work by prominent German photographer Candida Höfer. This will be Höfer’s first exhibition with the gallery and her first exhibition in New York since 2013. An opening reception will take place on Thursday May 7 from 6:00 to 8:00pm, the artist will be present.

On view for the first time in the United States, the photographs presented in this exhibition were all taken in Düsseldorf, Germany — the city where Höfer first studied photography under Bernd and Hilla Becher and which, to this day, remains an important influence on her work. In the mid 70s, Höfer and her peers at the exalted Kunstakademie, known as The Düsseldorf School of Photography, created one of the most remarkable artistic movements in Germany since the Bauhaus. In the years following, Höfer has continued to photograph Düsseldorf with a fresh eye, revealing an entirely new, and unexpected, minimalist direction in her work.

Alongside the meticulously composed, large-scale, color images of interiors for which Höfer is known, the exhibition presents photographs from the artist’s remarkable new body of work. Höfer’s latest compositions focus primarily on architectural detail and structure, color and form, utilizing extreme angles and close-ups to interrogate abstract forms. These fascinating new images juxtaposed against the Baroque churches, Rococo halls, and Modern opera houses, quintessentially representative of Höfer’s oeuvre, create an exciting visual dialogue that explores the past, present, and future of both the city and the artist.

Höfer’s internationally recognized work has been exhibited in solo exhibitions at the Kunsthalles in Basel and in Berne, the Museum Folkwang in Essen, the Louvre in Paris, the Irish Museum of Modern Art, Dublin, Museum Kunst Palast in Dusseldorf and, most recently, at the Kunstmuseum Luzerne. Her work has also appeared in group exhibitions at The Museum of Modern Art, New York; the Power Plant, Toronto; Kusthaus Bregenz; Museum Ludwig, Cologne; the Guggenheim Museum, Bilbao; and Documenta XI, Kassel. Höfer represented Germany at the 2003 Venice Biennale. Her photographs are in major public and private collections worldwide.”

more information available on skny.com

The post Candida Hofer @ Sean Kelly Gallery NY appeared first on INHALE MAG.

PAOLA PIVI “YEE-HAW”
Galerie Perrotin, Paris / 4 June – 1st August 2015
Opening reception: Thursday 4 June, 4-9pm
Exceptionnal closure from 25 June to 2 July

“Yee-Haw,” Paola Pivi’s ninth exhibition at Galerie Perrotin in the last fifteen years, introduces a new series of photographs with animals. Her diverse work, spanning performances to sculptures to large installations, is punctuated over the years by her photographic representations of animals in performative happenings; these are her most renowned images.

A long way from unicorns and other chimeras, the animals that appear in Paola Pivi’s world are very real. Yet, set in their strange surroundings, they appear as a dream within reality, imbuing them with a mythological aura (ostriches or a donkey sailing on a small boat in the Mediterranean Sea, 84 goldfish swimming in bowls and flying in a passenger airplane in New Zealand, different white animals grazing in an Edenic land, alligators frolicking in whipped cream in Florida or polar bears covered in multicolored feathers posing during the inauguration of Galerie Perrotin in New York). These images cast a new oneiric light over the world, viewed now through the prism of fantasy, of a fabulous bestiary. They appear to reveal a dimension that is a part of everyday life, which has only by chance never occured before in front of someone’s eyes.

For this exhibition, Pivi brought four horses to the Eiffel Tower. The animals seem to have found a new playground, an architectural landscape made to their measure. Once again, Pivi revisits and juxtaposes elements that are both familiar and archetypal into a fantastic iconography.

for more information please visit perrotin.com

The post Paola Pivi, “Yee-Haw” appeared first on INHALE MAG.

French photographer Charles Pétillon created the series ‘Invasion’, containing bundles of white, inflated balls within architectural spaces, neighborhoods and natural landscapes. He considers each photo in his series a metaphor for either a period of time, an emotional sensation, or universal urban evolution. They aim to change our perception of the ordinary sceneries we encounter everyday.

The photos were exhibited at Maison Européene de la Photographie between the 20th of February and the the 22th of March 2015.

More information and works available on charlespetillon.com

The post Charles Pétillon and the Baloon Invasion appeared first on INHALE MAG.

Features include Another Magazine, Wallpaper*, Port Magazine, NY Times, Telegraph Luxury, Le Monde, Printed Pages, Telegraph Magazine

Clients include Jo Malone, Maiyet, Smythson, Sunspel, Stella McCartney, COS, Pringle

To see more of her work you can check her website at katejackling.com

The post Babinettes by Kate Jackling appeared first on INHALE MAG.

Glasgow-based, Denmark-born photographer Tine Bek has taken the idea of the Baroque and spun it out to explore some pretty big concepts: nature, domesticity and the representation of the female body to name but a few. His series Barok is formed of numerous individual images which when isolated don’t seem to have to much to do with Baroque and all its drama and grandiosity; but together they form a strange narrative and take on a whole new feel. “Baroque is the main inspiration, not just as a period within architecture or art, but more so as an expression of a certain philosophy,” explains Tine. “The overall themes [are]… the balance between illusion and reality, light and dark and time and space.

“For me the images are always moving, changing and evolving, leaving me with something not quite graspable, where the architecture is more sophisticated than the people, who seem almost more animal-like than civilised. With statues that seem alive and people mainly portrayed as almost abstract figures, the reality as we know it is turned upside down, leaving all rules of etiquette behind.”

text via Emily Gosling @ itsnicethat.com

images courtesy of Tine Bek

The post BAROK by TINE BEK appeared first on INHALE MAG.

His long-term projects focus on the margins of society in Hungary, Romania and other parts of Eastern Europe. His upcoming exhibition at the Photographer’s Gallery in London (this mid-April) named Notes for an Epilogue and Here, Anywhere , depict a time of transition in rural Romania and across Hungary following the fall of Comunism in the late 1980s. The project imbues a gloomy atmosphere, comprising images of a society that in its run for becoming more modern and western has abandoned its factories and in effect led to the formation of a society at the outskirts that is no longer part of the economy. According to the thephotographersgallery.org.uk ”With these series Dezso is not offering portraits of a nation but rather a careful examination of the decaying ruins of the Soviet era, their effects on villages, communities and individuals and the slow disappearance of centuries-old traditions. ”

Tamas Dezso has twice been awarded the Hungarian Press Photo’s Photographer of the Year (2005 and 2006), and has received awards from organizations such as World Press Photo, Pictures of the Year International, NPPA’s Best of Photojournalism, and PDN. His photographs have appeared in TIME magazine, The New York Times, National Geographic, GEO, Le Monde magazine, and many others. Dezso has been nominated for the 2012 Prix Pictet.

The exhibition is scheduled to open on the 17th of April and will run until the 13th of June this year.

Images courtesy of tamas-dezso.com

The post TAMAS DEZSO: NOTES FOR AN EPILOGUE appeared first on INHALE MAG.

With photographs from rich and poor schools, numerous middle schools, and some high schools in countries from all over the world, Mollison also provides access for readers of all ages to issues of global diversity and inequality.

James Mollison was born in Kenya in 1973 and grew up in England. After studying Art and Design at Oxford Brookes University, and later film and photography at Newport School of Art and Design, he moved to Italy to work at Benetton’s creative lab, Fabrica. His work has been widely published throughout the world including by Colors, The New York Times Magazine, the Guardian magazine, The Paris Review, GQ, New York Magazine and Le Monde.

The photographs will be published under the form of a book, called ‘Playground’ and the official launch will be held at the Aperture Foundation, in New York, which will also feature an exhibition of the series.

Photographs by James Mollison taken from theguardian.com

The post Playgrounds from around the world by James Mollison appeared first on INHALE MAG.

Fashion and portrait photographer Ollie Grove shoots international campaigns for the likes of Bulmers; album covers for platinum selling artists such as Rudimental, and regularly produces works for high profile brands and music artists. He has a slight obsession with dogs.

Photographer and filmmaker Will Robson-Scott splits his time between London and New York an has achieved notoriety with a series of books and films documenting the global underworld of illegal graffiti writers. In 2014 he won 2nd place in the Best European Short Film and Young Director Award categories at Cannes Lion.

Images courtesy of indogswetrust.net

The post In Dogs We Trust appeared first on INHALE MAG.

Claudia Legge, a London-based photographer with a passion/addiction for shooting underwater, found out about this creepy tranquil sculpture park when she was in Mexico and wasted no time in getting below the surface with her camera to check it out.

Claudia works and exhibits worldwide and has upcoming exhibitions in New York and London.

Liv Siddall via itsnicethat.com

The post Claudia Legge shoots the worlds largest underwater museum appeared first on INHALE MAG.

Installation view of the exhibition Laurie Simmons: How We See, March 13, 2015 – August 9, 2015. Photo by: David Heald. Art © Laurie Simmons, courtesy the artist and Salon 94.

Simmons first discovered this particular “doll girl” make-up trend, a facet of the kigurumi culture she explored in her previous series, through YouTube tutorials. “One of the things I think is interesting is how many young women have found a voice on these YouTube tutorials or explanations,” she said, recounting an informational video she found about a liquid eyeliner that ran at least 15 minutes. “I just imagine all these girls in their rooms, finding importance in this one piece of make-up, this eyeshadow glitter or this one lipstick, and feeling — is it confidence?”

Laurie Simmons, How We See/Look 1/Daria (2014).
Courtesy the artist, Salon 94

Of course, on one level, the desire to look like a doll feels like a worst-case consequence of our post-Barbie society — a byproduct, perhaps, of a lifetime spent soaking in visual culture that tends to treat women like set decoration. It’s not hard to look into these models’ vacant, painted stares and glean a grim fascination with this sort of willing self-objectificaion, their eyes quite literally clouded by make-up. But on the other hand, in thinking about YouTube and the myriad options today for self-curated self-presentation, the savvy, even illusory use of make-up feels almost triumphant.

Laurie Simmons, How We See / Ajak (Violet), 2015, Pigment print, 70 × 48 inches (178 × 122 cm). © Laurie Simmons, courtesy the artist and Salon 94.

“I think when people first started taking pictures, they thought that there was this fantastic new medium for telling the truth, and now we’re all so sophisticated that we know pictures lie like crazy,” Simmons said. What if this, in the age of Photoshop, is just “how we see” now — through a lens of presumed artifice? And aren’t these women then all the more canny for being able to manipulate that to their liking?

“I think a lot about modes of self-transformation — make-up tutorials, ‘how-to’s on the Internet, even apps where you can give yourself pink cartoon hair,” Simmons said. “Initially, it’s all about having fun, but there’s a place where fun and a horrorshow sort of collide.” And one such place, it seems, is in these photographs, all the more disconcerting for their bright colors and beautiful faces.

“I’m not in any position to judge at what point any of these things become unhealthy — I’m just watching it all appear and evolve,” Simmons added, noting that this series is far from over, as these faux-eyes continue to inspire her. “My thought is, I just want to be around long enough to see where this all goes.”

Laurie Simmons, How We See/Lindsey (Beige), 2014, pigment print, 70 × 48 inches, edition of 5.
Credit: © Laurie Simmons, courtesy the artist and Salon 94.

via blouinartinfo.com

The post Laurie Simmons: How We See at the Jewish Museum appeared first on INHALE MAG.

After All

Our new project “Death by Diamonds and Pearls” is a conceptual mix between mythological symbols from the middle ages, mythology (from myth and metaphorical characters to cult objects and social status) and the cosmetized contemporary.
The stilistics is based on combining elements from different periods of time (armours, helmets, contemporary clothes, motocycles, accessories) and proposes the viewer an image of a temporal space where he is invited to meditate about the human and spiritual side.

Between Us

Evoking cultural references (Saint Sebastian), historical moments (medieval jousting), and social rebellion, the photos propose connections between old and new and bring into spotlight transformations that took place due to the passing of time. The photos explore notions like myth, violence, hypocrisy, lust for power, duality. The world presented in this space is corrupt, and the positive characters suffer. Above all there is a justice force, which comes to punish in order to reset the general equilibrium.
The artists question the idea of human condition during different time periods (from the Middle Ages until today) and the way we interact with this spiritual belonging. This makes the audience think of issues concerning the significance and presence of myths in our life in the 21th century. The world of our project is divided into characters that are abused and those that abuse.

To sum up, it is a melancholic episode about vulnerable beauty giving birth to metaphysical injuries.

Chastisement

Molotov Cocktail

Sebastian

Renaissance Stage 2

The post Latest Project from Carioca: Death by Diamonds and Pearls appeared first on INHALE MAG.

For the gallery’s second exhibition of Karen Knorr’s work, we will be presenting the first American showing of her ‘Fables’ series along with new work from her ongoing ‘India Song’. ‘Fables’, shot between 2003 and 2009 in various European museums, was Knorr’s earlier exploration of the disjunction between nature and culture, bringing the historical tradition of picturing animals squarely into the 21st century. The methodology developed in ‘Fables’ led Knorr to India where she photographed in the sumptuous palaces and temples of Rajasthan.

Ledoux’s Reception, 2004
photo danzigergallery.com

In both works Knorr playfully combines technologies and genres, mixing digital and analogue, architectural and wildlife photography. Now working entirely digitally, large format digital images of interiors are combined with animal figures photographed separately and then inserted into the environment of the artist’s choice. The boundaries of the real are thus challenged both by this hybrid process and also by the incongruity of the scenes. It is this very ambiguity that gives Knorr’s images their force.

The Blue Salon Louis XVI (4), 2006
photo danzigergallery.com

Knorr points out that the usual aim of fables is to teach a lesson by drawing attention to animal behavior and its relationship to human actions and shortcomings. Animals in fables speak metaphorically of human folly, criticizing human nature. Yet in Knorr’s ‘Fables’ and ‘India Song’ the animals are neither dressed up to resemble humans nor do they illustrate any explicit moral. Liberated from narrative constraints, they roam freely in human territory, drawing attention to the unbridged gap between nature and culture. They encroach into the domain of museums and palaces, showing us the incommensurable distance between two worlds: raw nature on the one hand and on the other the cultural site which allows nature entry only in the form of a representation.

Salon Lilac Louis XV, 2004
photo danzigergallery.com

Karen Knorr was born in Frankfurt am Main, Germany, raised in San Juan, Puerto Rico, and educated in Paris and London. She has lived in England since the 1970s, creating a large body of work that has developed a critical and playful dialogue with photography. Her themes range from investigating the patriarchal values of the English upper classes to addressing the role of animals and their representation in art. Using photography to explore cultural traditions, from the gentlemen’s clubs of Saint James to the luxuriant interiors of Indian palaces, Knorr’s work reaches out to engage conceptual art, visual culture and feminism.

The Return of the Hunter. Jaipur Palace. Jaipur.
photo danzigergallery.com

The King’s Reception, 2006
photo danzigergallery.com

The Grand Monkey Room (3), 2006
photo danzigergallery.com

via danzigergallery.com

The post Soon to Open: Karen Knorr at Danziger Gallery appeared first on INHALE MAG.

Danielle van Zadelhoff was born in Amsterdam, Holland. Now she lives and works in Antwerp, Belgium.

In 2013 she purchased her first camera and from that moment she became obsessed with photography, the means to express herself. Starting from youth together with her father, a businessman, who also painted and sculptured, she has been engaged in painting and modeling. She spent a lot of time in the family home library filled with books about history and art. A couple of years after the death of her father, she got acquainted with the photographer Leopold Beels van Heemstede, who introduced photography into her life and became her mentor. To learn technical aspects she followed almost a yearlong daily professional training in Antwerp.

Danielle van Zadelhoff
photo nunc-contemporary.be

The combination of photography and her education and fascination with the human psyche gives her photos a tension that leaves no one untouched. On this subject Danielle says: “I am inspired by the big themes in life, loneliness, vulnerability, the raw pure emotions in daily life. I want to capture this in the image, something that is almost invisible, but always present.” There are also a couple of images where religion comes to the surface. “I was raised in a Protestant school with a Catholic grandmother and a humanistic father. Religion is so integrated in our society and it is also a big theme in the seventeenth century painting.” It brings us to her background of restoring historical atmosphere. In her images this becomes visible through the sophisticated touch and finesse of her work and the attention to detail and proportions.

Danielle van Zadelhoff
photo nunc-contemporary.be

Characteristic for Danielle’s work is the frequent use of Claire-obscure (combination of the dark background and the light foreground, the light source is not determinable, might be from sun or candle). This technique was popular among the painters in the Renaissance period such are Caravaggio, Rembrandt, Murillo and others. “When I am working in my studio I always become fascinated by the light, which makes the models transcend above themselves and head to something universal”.

Danielle van Zadelhoff
photo nunc-contemporary.be

Danielle van Zadelhoff
photo nunc-contemporary.be

Danielle van Zadelhoff
photo nunc-contemporary.be

Danielle van Zadelhoff
photo nunc-contemporary.be

Danielle van Zadelhoff
photo nunc-contemporary.be

via nunc-contemporary.be

The post Danielle van Zadelhoff appeared first on INHALE MAG.

This exhibition focuses on her fashion work and features around 350 images that subvert the limits and conventions of this genre. Sassen has conceived an immersive installation for The Photographers’ Gallery, presenting her images as a series of dynamic looped projections which sweep over and across the Gallery walls and floor. Mirrors and specially defined projection areas dissect the photographed bodies and disturb the viewers’ sense of gravity and viewing expectations.

In Bloom

The title Analemma refers to an astronomical term describing an eight-shaped curve, which maps the position of the sun in relation to time. Here it evokes the transient seasonal flow of fashion, as well as echoing the constantly moving projections in the space.

Aigue-Marine, Numero

Sassen’s work is characterised by an unwillingness to conform to prevailing codes and conventions, especially those that have come to dominate the worlds of fashion and advertising. Her interest is in a visual frame driven by shape and silhouette, volume and line. Elaborate layering of bodies, textures, backgrounds and colours form part of a distinct aesthetic, with models’ limbs often obscured, merged or transformed into two-dimensional patterns. Through this exuberant formalism, in which figurative and abstract concerns remain in constant dialogue, her subjects appear unrestrained with the flexibility to be read as physical and graphic forms.

Biotope

Untitled, Carven

Corpus Electra

via thephotographersgallery.org.uk

The post Viviane Sassen Analemma: Fashion Photography 1992 to 2012 appeared first on INHALE MAG.

Linda Evangelista and Kristen McMenamy
L’Haÿ-les-Roses, France, 1992

Over the course of his illustrious career, Meisel has collaborated with major fashion publications, from Vanity Fair to Interview, W Magazine, and Vogue, and Vogue Italia, for whom he has photographed every cover for the past twenty-five years. His imagery is reliably rich in narrative, drawing from an encyclopedic knowledge of fashion’s history. With an informed nod to the past, Meisel’s photographs continue to lead the ever-evolving dialogue in fashion photography.

Daniel Blaylock and Kristen McMenamy Ward

Guinevere Van Seenus, Los Angeles, 2007

Naomi Campbell and Christy Turlington, Los Angeles, 1989

Natalia Vodianova, New York City, 2005

Anouck Lepere and Raquel Zimmermann, Los Angeles, 2000

The post Steven Meisel: Role Play at Phillips appeared first on INHALE MAG.

Waiting, Shenzhen 2

Waiting unites a careful selection of images culled from the astounding collection contained in both of Aperture’s volumes. It also marks the worldwide unveiling of the new series, Waiting, which includes recent photographs and a related video installation—functioning, therefore, both as the collective title for Olaf’s latest work and as an apt description of his production throughout recent decades.

The exhibition is anchored by a split-screen video installation that occupies a room conceived specifically for it, and features a poignant musical score created in close collaboration with a composer over the course of six weeks. Drawing on the shapes and shadows of film noir, the piece depicts a striking young woman with a sharp black bob as she sits at a round table in a restaurant, waiting for someone. Pictured from a different angle on each of the two screens, she appears elegant and self-possessed, at first, but as the moments pass with no sign of her date, her patience frays. Viewers are forced to wait with her—and as she grows restless, we do as well.

Caroline, 2007

Nairobi 2, 2014

The Boxing School, 2005

Portrait 5, 2005

The Dancing School, 2004

Hotel Kyoto (Room 211), 2007

via hastedkraeutler.com

The post Erwin Olaf at Hasted Kraeutler appeared first on INHALE MAG.

The photographs of Arthur Elgort created a sensation in his 1971 debut in British Vogue when a breath of fresh air wafted into the world of fashion photography. His free and easy style freed his models to move. His young and pretty models wore less make-up, were more casual and lively and moved about freely in outdoor locations such as city street, pools, and beaches which characterized his style. Elgort quickly became one of the best known and most emulated photographers and his influence changed the face of photography.

Arthur Elgort was born in 1940 and raised in New York City. He studied painting at Hunter College and transitioned into photography. He attributes much of his spontaneous and liberated style to his lifelong love of music and dance, especially jazz and ballet. In his long career he has worked on major advertising campaigns, as well as on French, Italian, British, and American Vogue, where he continues to work today. He has published several books, including Personal Fashion Photographs, 1983, and the best seller Models Manual, 1994.

via staleywise.com

The post Arthur Elgort at Staley-Wise Gallery appeared first on INHALE MAG.

Capturing large-scale dioramas inside natural history museums, Sugimoto’s photographs initially seem to be documents of the natural world, featuring far-flung landscapes and wildlife. Sugimoto, however, dwells in the artifice of the images. Composed in crisp black and white and sharp tones, the pristine quality and stillness of these large-scale pieces reveal the inherent artificiality of the constructed worlds contained within their frames.

Hiroshi Sugimoto
Alaskan Wolves, 1994
© Hiroshi Sugimoto, courtesy The Pace Gallery

Surveying his Diorama series, the exhibition highlights recurring themes and images that have sustained Sugimoto’s interest and work for almost four decades. Some of the works on view from 1980 were recently printed for the first time, and some images from 1974 and 1994 are exhibited in larger sizes than their initial printings.

Sugimoto, Hiroshi
Wapiti, 1980
© Hiroshi Sugimoto, courtesy The Pace Gallery

The earliest works on view in the exhibition are dated to 1976, when Sugimoto first moved to New York and visited the American Museum of Natural History. “The first time I saw a diorama I was overwhelmed by the fragility of existence that it captured. Being models of nature, dioramas include many of the world’s constituent parts,” Sugimoto wrote. “The only thing absent is life itself. Time comes to a halt and never-ending stillness reigns.” The works both breathe new life into the natural scenes, conjuring a false sense of reality, while highlighting their lifelessness.

Sugimoto, Hiroshi
Wapiti, 1980
© Hiroshi Sugimoto, courtesy The Pace Gallery

Essential to Sugimoto’s oeuvre are the concepts of memory and preservation, evident here in his exploration of nature as mediated through the museum. Since beginning this series, the notion of fossilization has become an important concept for Sugimoto and permeates his work. Exploring it as a historical fact and photographic conceit, the fossil serves as a living record and point of departure into history, crystalizing a moment in time into a singular object. Sugimoto’s process echoes this notion, capturing these frozen scenes on his large-format camera with specific lighting and extended exposures, lasting as long as twenty minutes. The exhibition documents the evolution of themes, beginning with Polar Bear (1976), his first photograph from the series. Returning to the American Museum of Natural History in New York where the project began, his work from 2012 reveals a heightened influence in landscape, envisioning the world as it was before and will be after animal life has gone extinct. These pieces synthesize his lifelong interest in the forces of history with the changes of the natural world and central questions of photography. “All over the planet, nature is being transformed into un-nature at breakneck speed,” Sugimoto wrote. “My life is part of natural history. I long to know where that history came from and where it is going.”

via pacegallery.com

The post Hiroshi Sugimoto: Still-Life at Pace Gallery appeared first on INHALE MAG.

Vogue Paris, May 1970
Photography by Guy Bourdin

Guy Bourdin’s editorial and advertising imagery represent a highpoint in late twentieth century fashion photography. His work took the basic function of the fashion photograph -to sell clothing, beauty and accessories- and made it into something rich and strange. Bourdin did this without resorting to exoticism; instead, he established the idea that the product is secondary to the image. From his professional debut for Paris Vogue in the 1950s, Bourdin developed a distinctive style of visual storytelling which continues to serve as a source of inspiration to contemporary fashion photographers from Tim Walker to Nick Knight.

Vogue Paris, October 1977
Photography by Guy Bourdin

Curated by Alistair O’Neill with Shelly Verthime, the exhibition will include over 100 colour exhibition prints of Bourdin’s most significant works, as well as early and late works in black and white that serve to challenge Bourdin’s reputation as a colour photographer. This is complimented by a range of other photographic materials: unique Polaroid test shots, double-page spread layouts, contact sheets and transparencies marked for composition that explore Bourdin’s craftsmanship as an image maker and the processes involved in producing startling and provocative imagery in a pre-digital age. It also highlights Bourdin as a pioneer of fashion film, showcasing a range of Super-8 films he made at the same time as his on-location photo shoots.

Pentax calendar, 1980
Photography by Guy Bourdin

The exhibition will also feature a selection of paintings, working drawings, sketches and notebooks, not seen in the UK before, which inform his approach as an compositional image-maker and meticulous draughtsman. A highlight will be the ‘Walking Legs’ series – a campaign commissioned by Charles Jourdan in 1979 exhibited in its entirety for the first time with a yet unseen accompanying fashion film.

Charles Jourdan, Spring 1975
Photography by Guy Bourdin

Vogue Paris, November 1975
Photography by Guy Bourdin

Roland Pierre, Summer 1983
Photography by Guy Bourdin

Charles Jourdan, Spring 1976
Photography by Guy Bourdin

Charles Jourdan, Spring 1979
Photography by Guy Bourdin

Charles Jourdan, Fall 1977
Photography by Guy Bourdin

via somersethouse.org.uk

The post Guy Bourdin: Image Maker appeared first on INHALE MAG.

In his editorial photographs for Vogue, Harper’s Bazaar, Interview, and many other international magazines, Lindbergh replaced stagy, calculated glamour with a raw vérité approach, enhanced by his use of high-contrast black and white. Set in both rural and industrial landscapes, the women in his photographs are distinguished by beauty that is purposeful, self-possessed, and uninhibited. “I don’t think real beauty can exist without truth,” Lindbergh has said. “This idea disqualifies today’s excessive retouching.”

PETER LINDBERGH
EVA HERZIGOVA, EL MIRAGE, CALIFORNIA, 1995, 1995

The exhibition includes the pivotal “Wild at Heart” feature inspired by biker culture and shot on the streets of Brooklyn for Vogue in 1991; the gritty image of Kate Moss shot for Harper’s Bazaar in 1994 that was inspired by Walker Evans’ iconic New Deal photographs; austerely beautiful depictions of women in motion that allude to modern dance; and editorial portraits of models including Kristen McMenamy and Uschi Obermaier, in which the subjects’ clothing and setting are secondary to their expressiveness and movement. Breaking with the idea of classical chic, in 1988 he photographed six emerging models—Karen Alexander, Linda Evangelista, Estelle Lefébure, Tatjana Patitz, Christy Turlington, and Rachel Williams—in identical men’s white shirts on a Los Angeles beach.

PETER LINDBERGH
KATE MOSS
NEW YORK, USA, 1994, 1994

PETER LINDBERGH
LINDA EVANGELISTA, PARIS, FRANCE,

via gagosian.com

The post Peter Lindbergh at Gagosian Gallery appeared first on INHALE MAG.

In direct relation to the Ogden Museum of Southern Art across the street, Prospect.3: Notes for Now at the Contemporary Art Center of New Orleans is intended as an exploration of global and universal trends in contemporary art today. The work on display aggregates current artistic movements and concerns, positing distinct perspectives from around the world in relation to one another. While the work at the Ogden locates P.3 historically and geographically, focusing on the different ways the spirit and ways of the South form the basis of many contemporary art practices, the exhibition at the CAC expands to offer a multiplicity of ways that artists choose to address universal issues across the world.

Sophie Lvoff
North Claiborne Ave We Got It Grocery
From the series “Hell’s Bells/Sulfur/Honey” (2010-2014)

Sophie T. Lvoff  moved from New York to New Orleans in 2009, drawn to the romantic South masterfully documented by such photographers as Walker Evans and William Eggleston. Since then, she has been entranced by the mystical beauty of the city. While the light, color palette, and prominence of tradition in the region are now the foundation of her practice, she has become equally aware of the threats to this beauty. From both environmental and sociological perspectives, and further influenced by the political and social atmosphere, Lvoff situates her practice as a “truthful” display of the South, beyond its celebrations and devastations.

Sophie Lvoff
St. Claude Ave Saturn Bar
From the series “Hell’s Bells/Sulfur/Honey” (2010-2014)

photo blouinartinfo.com

Sophie Lvoff
Toledano Street
From the series “Hell’s Bells/Sulfur/Honey” (2010-2014)

via http://cacno.org

The post Sophie Lvoff at Contemporary Art Center of New Orleans appeared first on INHALE MAG.

Albert Watson
Kate Moss
Veil, Marocco 1993
© Albert Watson
courtesy ONO arte contemporanea

The exhibition combines photographs of early shootings with style-stamping shots from Marrakesch and W Magazine.
The list of photographers includes with Michel Haddi, Pamela Hanson, Marc Hispard, Chris Levine, Dana Lixemberg, Roxanne Lowit, Jurgen Ostarhild, David Ross Elliott, Satoshi Saikusa and Albert Watson an interesting overview
of photographic positions.
The exhibition is a cooperation with the Italian gallery ONO arte contemporanea from Bologna.

Jurgen Ostarhild
Kate Moss
Camber Sands, South England, 1991
© Jurgen Ostarhilt
courtesy ONO arte contemporanea

Chris Levine
She ́s Light (Dots), 2013
© Courtesy of the artist and The
Fine Art Society Contemporary

Satoshi Saikusa
Kate III
© Satoshi Saikusa
courtesy ONO arte contemporanea

Jurgen Osterhild
Kate Moss
Camber Sands, South England, 1991
© Jurgen Ostarhild
courtesy ONO arte contemporanea

Satoshi Saikusa
Kate II
© Satoshi Saikusa
courtesy ONO arte contemporanea

via hiltawsky.com

The post Kate Moss: The Icon appeared first on INHALE MAG.

Renowned for its innovative and high-level programming, Paris Photo is a key event for collectors and art world professionals, as well as photography enthusiasts. Extensive programming includes special exhibitions for the following sectors:

- The “Private Collection” exhibition introduces visitors to the pioneering role played by private collectors who, driven by their own passion and perseverance, gathers masterpieces and develop new approaches.

- The “Recent Acquisitions” exhibition presents the new photography collections from international institutions.

- “Open Book” honors the role of the photo book in the history of the medium.

In partnership with the Aperture Foundation, Paris Photo has established the Paris PhotoBook Awards, celebrating the ever evolving role of the photobook in the narrative of photography. Prize categories include: First Photobook, Photobook of the Year, and Catalogue of the Year.

The Paris Photo Platform brings together key figures in the international art community for a cycle of conversations, interviews, debates and performances organized by guest curators.

The Fair is enriched by the support and participation of our partners, such as the Giorgio Armani Acqua exhibition program; selected works from JPMorgan Chase Art Collection; presentations from BMW Art and Culture and Leica; and SFR Jeunes Talents.

303 Gallery

Collier Schorr, Jennifer (Head)
photo parisphoto.com

AFA

Paz Errázuriz, Evelyn, La Carlina
photo parisphoto.com

Bendana | Pinel Art Contemporain

Caio Reisewitz, Casa Canoa
photo parisphoto.com

Black Ship

Cristina De Middel, This is what hatred did #15
photo parisphoto.com

carlier | gebauer

Richard Mosse, Higher Ground
photo parisphoto.com

Richard Mosse, Madonna and Child
photo parisphoto.com

Galerie Daniel Templon

James Casebere, Party at Caffey’s Inlet Lifesaving Station (Dare County, NC)
photo parisphoto.com

Pierre et Gilles, Stromae Forever (Modèle: Paul Van Haver)
photo parisphoto.com

David LaChapelle, Milk Maidens
photo parisphoto.com

MARTIN ASBÆK

Trine Søndergaard, Untitled, Reflections
photo parisphoto.com

via parisphoto.com

The post Paris Photo Soon to Open appeared first on INHALE MAG.

His stunning Refineries, temples to oil drenched in saturated colours, paint an indirect portrait of a society facing the challenges caused by its consumption-obsessed lifestyle. The underside of these magical settings – made up of fossil fuel by-products such as curlers, cans and plastic objects – offers an apocalyptic vision of a system marked by the insatiability of its needs.

Land Scape Kings Dominion, 2013
photo danieltemplon.com

His Gas Stations nestle in lush vegetation, conjuring up the romantic spectacle of human architecture in the process of being swallowed up. The deliberate fragility of their cardboard structures, their isolation and their otherworldly glow all bring to mind the end of a civilisation.

Land Scape Riverside, 2013
photo danieltemplon.com

David LaChapelle puts his mastery of composition and lighting to use as he combines popular culture with art history references to create a fascinating allegory of today’s world.

Land Scape Pacific Sunset, 2013
photo danieltemplon.com

Land Scape Castle Rock, 2013
photo danieltemplon.com

Land Scape Anahein, 2013
photo danieltemplon.com

Gas Chevron, 2012
photo danieltemplon.com

via danieltemplon.com

The post David LaChapelle: Land Scape at Galerie Daniel Templon appeared first on INHALE MAG.

So, for those who were wondering – there are some great reasons for which Singapore was chosen. 50% of the exhibitors are Western, and the other 50% are Asian. It’s a good mix for the public who can get to see different directions in the artistic scene.

ALBERTO FANELLI, VISTA DAL CAMPANILE DI SAN MARCO, 2013, PANORAMIC STEREOGRAM HYPER-STEREOSCOPIC, 200 X 85 CM, EDITION 12, COURTESY ALBERTO FANELLI.

ROBERT ZHAO RENHUI , A GUIDE TO THE FLORA & FAUNA OF THE WORLD,2013

“We are broadening the exposure of talented artists to Asia, with the concept of a unique art fair that has never been showcased before in Singapore. We expect art enthusiasts and collectors will be delighted with this new format.”

Lorenza Castelli:

“MIA Fair strongly promotes education on photography. MIA Fair aims at forming a new and young collectors’ base, which is approaching contemporary art through photography, and  offering  experienced art collectors the possibility to enjoy a lively, fresh and interesting event.
Educational is seminal in MIA Fair’s format, in fact we have an interesting cultural program  . Seminars, lecture magistralis and round tables are organised covering a range from the history of photographic image to its market system, from the world of collecting to other experiences in curatorship and display.”

More here: interview with Castelli

MIA&D Fair cultural program accentuates the need for a well-informed Art-collecting. 25.000 visitors are expected and they surely have a lot to see, since the list of the exhibitors is rather large.

BETH MOON, DIKSOM FOREST, 2010, HAND COATED PLATINUM AND PALLADIUM METALS ON 100% RAG COTTON ARCHIVAL WATER COLOR PAPER, PRINT SIZE 64.77 X 43.18 CM; PAPER SIZE 76.2 X 55.88 CM, EDITION 2 OF 9, COURTESY IMAGE COPYRIGHT BETH MOON

RODNEY SMITH, GARY AND HENRY CHASING BUTTERFLY, BEAFORT, SC, 1996, SILVER GELATIN PRINT 26.67 X 26.67CM, EDITION 3OF25, COURTESY RODNEY SMITH

The Fair will be held at Marina Bay Sands, Exhibition Centre, where it will occupy a sprawling 3,500 square meters. In Singapore the fair will include the presence 50% – 50% of Asian and Western exhibitors and it is expected to attract up to 25.000 visitors.

RODNEY SMITH, GARY AND HENRY CHASING BUTTERFLY, BEAFORT, SC, 1996, SILVER GELATIN PRINT 26.67 X 26.67CM, EDITION 3OF25, COURTESY RODNEY SMITH

The post MIA&D Fair Singapore 2014 appeared first on INHALE MAG.

photo blouinartinfo.com

photo blouinartinfo.com

via blouinartinfo.com

The post Dallas Contemporary: Alta Moda by Mario Testino appeared first on INHALE MAG.

Singapore surely needed an event as important as a fair, and MIA&D already had a name, due to the editions in Milano. What is interesting is the fact that Design is a new section of the fair, therefore it is more diverse than the previous editions. What are the connections between photography and design? This is something you can discover once you get to the fair and see the dialogue between the works.

“We are broadening the exposure of talented artists to Asia, with the concept of a unique art fair that has never been showcased before in Singapore. We expect art enthusiasts and collectors will be delighted with this new format.”

MIA&D Singapore is important also because it aims to create a space where artists meet collectors and galleries, and it is a hub for future projects. The Fair has plans about the future of art collecting: it should be well-informed.
 

Andra Branzi, Pierced Bookcase, 2006

Jeeyoung Lee, Resurection, 2011

Beth Moon, Diksom Forest, 2010

Andrea Pacanowski, Sabbia Bianca, 2012

Check out the site for more information: www.miafair.it

The post MIA & D FAIR SINGAPORE: 24 to 26 October 2014 appeared first on INHALE MAG.

Studio portraits will be taken from 15 years of musical archives, amongst which are black and white prints exhibited for the first time, including portrayals of heroic rock figures, from Lou Reed to Brian Wilson, from Amy Winehouse to Keith Richards.

The project will be completed with a video installation, juxtaposing the musical cycles of London (2003-2007) and California (2007-2014) in a documentary style, painting an alternative portrait of two generations of performers and their fans.

photo joujouvilleroy.com

photo si.wsj.net

photo joujouvilleroy.com

photo blogs.artinfo.com

via fondation-pb-ysl.net

The post Hedi Slimane: Sonic at The Fondation Pierre Berge Yves Saint Laurent appeared first on INHALE MAG.

photo davidlachapelle.com

“The qualities of watery reflections, billowing smoke, saturated colours, and the apocalyptic luminosity of the skies evoke an intense, even operatic, emotional drama. The ordinariness of the stuff of which the passion play is made bring home our own daily participation in this unfolding tragedy. In a way, the refineries are a collective portrait of ourselves, and of the world we have built to serve our desires”, writes critic Shana Nys Dambrot in the catalogue essay.

photo davidlachapelle.com

DAVID LACHAPELLE (b. 1963) frequently employs the allegorical potential of an edifice as a composite portrait, using economies of scale and architectural vignettes to depict with flourish the reality of “what’s really going on” behind the façade. His work has explored themes as diverse as the plight of Africa, vanity, consumerism, and now ecology – his deceptively glamorous images always masking a deeper political and sociological comment. His work is included in numerous public and private collections, and has been exhibited at museums and institutions internationally including the Musée D’Orsay, Paris; the Brooklyn Museum, New York; the Museum of Contemporary Art, Taipei; the Tel Aviv Museum of Art; the Los Angeles County Museum of Art (LACMA); The National Portrait Gallery, London; and the Fotographfiska Museet, Stockholm, Sweden. The National Portrait Gallery in Washington, DC currently includes LaChapelle’s work in the show American Cool, February – September 2014. LaChapelle lives and works in Maui, Hawaii.

photo davidlachapelle.com

photo davidlachapelle.com

photo davidlachapelle.com

On view:
September 16 – November 1, 2014

via davidlachapelle.com

The post David Lachapelle at Robilant + Voena, Milan appeared first on INHALE MAG.

photo lorenzovitturi.com

The alien forms created in the studio are organic and temporary, carefully compiled structures of found fish heads, hair pieces, giant snails and coconuts coloured by pigments and wrapped in thread. These makeshift sculptures mimic the temporal nature of the market and the objects themselves, existing often only to be photographed or in the process of being disassembled or rotting.

photo lorenzovitturi.com

Dalston Anatomy is a unique portrayal of a soon to be extinct way of life. As a local resident of the area around Ridley Road Market, Vitturi felt compelled to capture its distinctive spirit and range of social and ethnic influences in anticipation of the ever advancing threat of gentrification. Multi-coloured and precariously balanced, the sculptures in his photographs stand as metaphors for the harmoniously clashing diversity of nationalities and cultures brought together in the Dalston community.

photo lorenzovitturi.com

photo itsnicethat.com

photo theguardian.com

via flowersgallery.com

The post Lorenzo Vitturi at Flowers Gallery appeared first on INHALE MAG.

photo aspenartmuseum.org

Neto challenges the notion of sculpture as static object and investigates the ways that alterations to space and environment transform the relations between people. In engaging with this dialogue, Neto draws on and extends both the abstract modernism of Alexander Calder, Hans Arp, and Constantin Brancusi, and the sensuous, performative practices of such Brazilian predecessors as Lygia Clark and Hélio Oiticica. Spanning both the AAM upper and lower galleries, Neto’s exhibition presents visitors with an opportunity to slow down, pause, and rediscover the essential qualities of sensory experience.

photo aspenartmuseum.org

photo aspenartmuseum.org

photo by Tony Prikryl

via aspenartmuseum.org

The post Ernesto Neto at Aspen Art Museum: Gratitude appeared first on INHALE MAG.

The plant appears in some of her paintings and works on paper as early as 1948. After her return from New York to Japan in the 1970s she rediscovered the theme, and began making serial works depicting the pumpkin in various media: paintings; prints; sculpture; installation; and environmental works. She has made tiny pumpkins no bigger than a key ring, and monumental pumpkins that dwarf the viewer with their scale. She has placed pumpkins in box structures and in mirror rooms, and used the
distinctive knobbly patterning of their skins as inspiration for her unique dot-patterned paintings and textiles. In 1993 pumpkins formed part of her presentation in the Japanese Pavilion at the Venice Biennale. In 1994 her iconic exterior sculpture of a large yellow and black pumpkin was sited at the Benesse Art Site Naoshima, an island in Japan’s inland sea dedicated to displaying art within nature.

The artist has a strong personal identification with the pumpkin, and has described her images of them as a form of selfportraiture. She admires pumpkins for their hardiness and everyday quality, as well as for their unique and pleasing physical qualities. She has written:

“‘Pumpkin head’ was an epithet used to disparage ugly, ignorant men, and the phrase ‘Put eyes and a nose on a pumpkin’ evoked a pudgy and unattractive woman. It seems that pumpkins do not inspire much respect. But I was enchanted by their charming and winsome form. What appealed to me most was the pumpkin’s generous unpretentiousness. That and its solid spiritual base” (Yayoi Kusama, Infinity Net: The Autobiography of Yayoi Kusama, trans. Ralph McCarthy, London 2011, p.76).

Yayoi Kusama in Mirror Room (Pumpkin) (1991)

Yayoi Kusama, Pumpkin Chess Set 2003, hand-painted porcelain, leather, timber. Courtesy of RS&A Ltd, London.

“YAYOI KUSAMA: New Sculptures and Recent Paintings”
Installation view
Photo by Douglas M. Parker Studio

“YAYOI KUSAMA: New Sculptures and Recent Paintings”
Installation view
Photo by Douglas M. Parker Studio

- via victoria-miro.com

The post New Works by Yayoi Kusama to be Displyed at Victoria Miro Gallery appeared first on INHALE MAG.

Vitturi – who lives locally – feels compelled to capture its distinctive nature before it is gentrified beyond recognition. Vitturi arranges found objects and photographs them against backdrops of discarded market materials, in dynamic compositions. These are combined with street scenes and portraits of local characters to create a unique portrait of a soon to be extinct way of life.

Photo: thephotographersgallery.org.uk

Photo: lorenzovitturi.com

The makeshift sculptures he creates mimic the organic and temporary nature of the market, and documenting this by photographing the objects is the way in which they endure before diminishing once more. In the photographs we see a cacophony of texture and color: Afro’s and braids, fruit, pork, fish and balloons, bright paint and tarps used for the stalls. Vitturi focuses on the abstract but universal language of shapes, colours and composition.

“Every day people are inventing ways to present themselves and their small shops to the passing public,” says Vitturi. “It’s an endlessly creative as well as commercially competitive place that can sometimes be a little overwhelming, but it is that edgy dynamic that I wanted to reflect in my images. I was trying to recreate the identity of the market through whatever I could find there that served my vision of the place and its energy. So the coloured chalk that is used to cover some of the faces in the images is sold in little baskets on a stall on Ridley Road. Later, I found out that the chalk is used as a painkiller in west Africa for women who are pregnant. Every picture has a hidden story.” – The Guardian

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Photo: lorenzovitturi.com

Currently, his work is being exposed at The Photographers Gallery until October 19th.
16–18 RAMILLIES STREET, LONDON W1F 7LW

-via lorenzovitturi.com

The post Lorenzo Vitturi, Buying Inspiration From The Market appeared first on INHALE MAG.

On view from August 1 – November 3, 2014, the Triennale includes a selection of international artists, including Luhring Augustine artist Josh Smith. The primary venues will be Yokohama Museum of Art and Shinko Pier Exhibition Hall.

Yasumasa Morimura
Portrait (Futago), 1988
Color photograph

“Being an artist, I’ve never had the chance to serve as the artistic director of any international exhibitions. I’m taking the wheel for the first time and the ship has already left port without my having had a chance to learn how to steer.

But it seems to me that this kind of slightly reckless launch is exactly what’s needed for an international exhibition today.

Since 2000, international exhibitions have sprung up everywhere, both in Japan and abroad, and there is no longer anything special or different about them. The scale is merely large. And the festive air is merely an amusement. Many are reduced to a symbol of populism, globalism, and localism. Market principles have exerted a consciously strong influence on the art world, prompting questions not only from those concerned but also from viewers. And though these people may still be in the minority, they are bound to increase as time goes by.” - Yasumasa Morimura

Yasumasa Morimura
Self-Portrait (Actress)/ After Elizabeth Taylor 1, 1996
Ilfochrome/Acrylic sheet

Yasumasa Morimura An Inner Dialogue with Frida Kahlo (Festive Decorations), 2001 Color photograph

Born 1951 in Osaka, where he continues to live and work.
Completed undergraduate and graduate degrees at Kyoto City University of Arts.

He made his debut in 1985 with self-portrait works based on his personal interpretation of Vincent Van Gogh. He has since produced a number of self-portraits in diligently staged photography and video works, identifying with art-historical images, famous film actresses, and iconic figures from the 20th century.

In 1988, Morimura was invited to take part in the Aperto section of the 43rd Venice Biennale, and over the years, he has participated in countless important exhibitions.

Selected solo exhibitions in Japan include, “The Sickness unto Beauty: Self-portrait as Actress” (Yokohama Museum of Art, 1996), “Self-Portrait as Art History” (Museum of Contemporary Art, Tokyo, and two other venues, 1998), Morimura Self-Portraits: An Inner Dialogue with Frida Kahlo (Hara Museum of Contemporary Art, Tokyo, 2001), “Bi [bi:]-Class, Be Quiet” (Contemporary Art Museum, Kumamoto, and Yokohama Museum of Art, 2007), and “A Requiem: Art on Top of the Battlefield” (Tokyo Metropolitan Museum of Photography, and three other venues, 2010 and 2011). His most recent solo exhibitions overseas is “Requiem for the XX Century: Twilight of the Turbulent Gods” (La Galleria di Piazza San Marco, Venice, and two other venues, 2007 and 2008), but has previously held shows in major museums in the United States, France, Spain, Australia, Thailand, and India.

Yasumasa Morimura
An Inner Dialogue with Frida Kahlo (Standing Firm), 2001
Digital chromogenic print mounted on aluminum

His works are part of major national and public collections in Japan and also overseas, including Museo Nacional Centro de Arte Reina Sofia, Madrid, Museum of Contemporary Art, Chicago, Museum of Fine Art, Boston, and Queensland Art Gallery, Brisbane. He is a prolific writer, and author of many Japanese titled books. He has received a number of awards for his achievements, including Kyoto Prefecture Culture Prize, Merits Prize (2006), Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize of Fine Arts (2007), Photographic Society of Japan Awards, Lifetime Achievement Award (2011), and also one of the most prestigious awards in the field of art and science, Order of Purple Ribbon, Shiju Hosho (2011). He was also recently commended for a Person of Cultural Merit, Bunka Korosha, by Kyoto City (2013).

Yasumasa Morimura
Look, this is in fashion!, 2004
Los Nuevos Caprichos

Yasumasa Morimura
Self-Portrait (Actress)/After Brigitte Bardot 2, 1996
Ilfochrome/Acrylic Sheet

Yasumasa Morimura
Where are we from? Who are we? Where are we going?, 2004
C-Print

Yasumasa Morimura
A Requiem: Red Dream / Mao , 2007
C-print mounted on alpolic, color

Yasumasa Morimura
A Requiem: Where is the Dictator? 3, 2007

Yasumasa Morimura will also be exhibiting Las Meninas Renacen de Noche (Las Meninas Reborn in the Night) in Chelsea, at the Luhring Augustine Gallery, Dec 13, 2014 – Jan 31, 2015 .

Yasumasa Morimura
Las Meninas renacen de noche IV: Peering at the secret scene behind the artist, 2013

- via luhringaugustine.com, yokohamatriennale.jp

The post Yasumasa Morimura, The Artistic Director Of Yokohama Triennale appeared first on INHALE MAG.

Gregory Scott builds sets in his studio that serve as his subject. In these sets, he records himself performing a variety of scenarios that are then edited into 6-10 minute videos. The sets are then photographed, and the resulting wall piece is a mounted photograph with a cut out for a monitor on which a video plays, and a painted element appears on the photographic surface. In each video, he shows how he constructed the set that he photographed, breaking down the barrier between maker and viewer. All of the hardware is attached to the inside of the frame, making his works self-contained.

Half Dome, 2014 © Gregory Scott

Continuing to use himself as the model, Scott creates narrative pieces that reference specific artists (Mark Rothko, James Turrell, Cy Twombly, Frank Stella) that have had an impact on his life. Using illusion and surprise, he challenges the definitions placed on photography, painting and video, expanding its discourse and creating a dialogue with the viewer. This dialogue can be seen inWarholian, which shows a photograph of a framed “painting” hanging in a gallery. The painting quickly reveals itself to be a video, showing the artist making his own Warhols, including a silkscreened Marilyn who gets up and walks out of the frame, and a Campbell’s soup can that tips over, pouring out blue paint. In his newest piece, Half Dome, Scott built a model of Yosemite in his studio, referencing Ansel Adams and the beautiful landscape he made famous. In Don’t Fade Away, he disappears into walls and staircases, referencing the work of Lui Bolin. Gregory Scott is a gifted painter, photographer, narrator and video editor, who creates clever narratives that challenge the viewers’ perception of art and the many ways it can be presented.

“What if” is a good question. What if I was taller? Or fatter? Would that make me different inside? What if I was five years old? What if my body was female, or a horse, or a bird? What if the room I’m in is an illusion and the picture hanging on the wall is real? As delightful as curious exploration may be, there is something else that drives me. I want to capture the emotional states that we all have as humans; emotions such as laughter, loneliness, futility, desire, insecurity, confusion, and play. And especially moments of being that elude verbal description. How does humor make sadness more poignant? Or sadness give humor more depth? How can loneliness be so starkly personal and yet utterly universal? And why does “serious” art have to be so, well, serious? I attempt to accomplish three goals with my artwork: for it to be engaging, meaningful, and accessible. To accomplish this I build in multiple layers of interpretation. To make it engaging I explore elements of trompe l’oeil, illusions, and altered realities to entice the viewer into paying attention. At the same time these techniques explore our perceptions of what is “real.” Is a photograph more real than a painting? Is video more real even though it is low resolution? Rather than enter the well-worn discourse on photographic truthfulness, I’m more interested in the tendency for people to be convinced by an obviously manufactured fantasy.” – Gregory Scott

PHOTO: angelikapiwowarczyk.com

“By placing a video into a photograph of a frame in a gallery setting, I try to examine the conventions of art and its relevance and value in today’s world. The inherent strengths and weaknesses of each of the different media are exposed by their juxtaposition. The juxtaposition also compromises each of the media. Paintings are cut into sections, photographs are reduced to serving as backgrounds, and the video is surrounded by media that exposes its shortcomings in depicting detail, color, and tone.

In each piece, I act out moments of human emotional existence that are sometimes humorous and other times poignant. Whatever the mood, the human element provides a personal connection for the viewer. For me this is what makes the work meaningful, and where the real value lies.

Finally, it is important to me that the work be accessible. Contemporary art often obscures its intent or simply fails to communicate. I want anybody, regardless of their art knowledge or appreciation, to get something out of their experience when they see the work.
By placing a video into a photograph of a frame in a gallery setting, I try to examine the conventions of art and its relevance and value in today’s world. The inherent strengths and weaknesses of each of the different media are exposed by their juxtaposition. The juxtaposition also compromises each of the media. Paintings are cut into sections, photographs are reduced to serving as backgrounds, and the video is surrounded by media that exposes its shortcomings in depicting detail, color, and tone.” – Gregory Scott

Catherine Edelman Gallery is pleased to present new mixed-media video works by Gregory Scott, in his second solo exhibition at the gallery. “Gregory Scott: In Still Motion” opens September 5 and runs through November 1, 2014.

There will be an opening reception with the artist on Friday, September 5, from 5:00 to 8:00 p.m. and an artist talk in the gallery on Saturday, September 6 at noon.

- via edelmangallery.com; angelikapiwowarczyk.com,

The post Gregory Scott Opens The Fall Season With New Video Works appeared first on INHALE MAG.

Structure (rods) in black, golden or copper electroplated steel. Leds module is placed on the base. Provides ambience light. Switch placed on electric cord. They can be combined or can work independently.

photo parachilna.eu

photo parachilna.eu

photo parachilna.eu

photo parachilna.eu

via parachilna.eu

The post PARACHILNA: Works by STEPHEN BURKS & JAIME HAYON appeared first on INHALE MAG.

Abramovic sees a broad affinity between the two; ‘One similarity that I wanted to highlight in this video is the importance of group collaboration. When Ulay and I originally performed the piece Work Relation in 1978, the power of collective strength came through in the performance. I believe that it is important to learn from other disciplines in order to bring new life to whatever it is that you do.’

photo youtube.com

First performed in 1978, the original Work Relation was a groundbreaking form of performance art unveiled at the Theatre ann Rijn in Arnhem, The Netherlands. The original piece consisted of three sequences, each presenting a unique model for transporting stones from one end of a room to another. Using only buckets and human labour, the three models compare and contrast systems of cooperation and efficiency, with the participants’ bodies serving as the medium. This performance, along with the rest of Abramović’s work, reshapes the role of the audience, bringing us into the experience, highlighting both the limits of the human form and the possibilities of the mind.

photo youtube.com

The 2014 execution of Abramović’s Work Relation revisits these same themes of the original, while also paying tribute to adidas’ partnership with the 2014 FIFA World Cup. Shot on location at Pioneer Works in Brooklyn, NY, by filmmaker Dustin Lynn, the video reflects on the value of dedication and persistence, and the triumphant endurance and success of the group versus the individual.

photo youtube.com

In the reenacted piece, eleven performers from varying walks of life reference the total members of a soccer/football team. Together, the performers harness the fundamental principles of the sports world – teamwork, discipline and perseverance – to once again transport stones from one side of the room to the other. Abramović acts as a referee figure, a conductor laying out the rules of the game while the team utilises three different approaches to carry out the same task. Each of the performers is dressed in items from his/her personal wardrobe, along with a uniform of white lab coats from the Marina Abramović Institute and adidas’ celebrated Samba sneakers, a style first introduced in 1950 as a soccer/football-training shoe.

photo youtube.com

The consistent elements in apparel further explore the idea of partnership, referencing the ‘kits’ or uniforms worn by teams during match play. Abramovic explains, ‘I ask the performers to wear lab coats to create a sense of collective experimentation. A willingness to experiment and risk failure is what allows for growth, both on an individual level and on the level of the collective. The lab coats also mute external distractions such as bright clothing, which can deepen the internal focus of the performers. When participants perform the Abramovic Method at MAI, they will be asked to wear lab coats for these reasons, as well as to create a temporary community with those who are experiencing the work together.’

photo youtube.com

The resulting performance, filmed in a black-and-white cinematic style similar to early motion picture experiments of the nineteenth century, feels simultaneously intimate and epic, complex yet straightforward, monumental and relevant. It conjures the ethos of adidas and the spirit of collaboration.

photo youtube.com

photo youtube.com

photo youtube.com

photo youtube.com

photo youtube.com

via showstudio.com

The post Work Relation, 2014: Marina Abramovic Teams up with adidas appeared first on INHALE MAG.

Until 14th September 2014

Colourful, provocative, humorous and glamorous: During the past three decades, David LaChapelle has created an extraordinary and unmistakeable oeuvre that had a lasting influence on the aesthetics of the visual realm. For his fantastic exaggerated, flashy photographs the storyteller has staged numerous pop and movie stars. With hyper-real settings featuring gleaming and perfect bodies, bits and pieces of consumer culture and citations of natural beauty, he creates a bizarre tension between alienation and attraction that raises existential questions – of spirituality and religion, gender and sexuality, transience and exploitation.

David LaChapelle, Land Scape: Kings Dominion
photo loeildelaphotographie.com

Inspired by Andy Warhol, David LaChapelle started in the mid-eighties in New York to take photograph for international lifestyle magazines and exhibit his work. This was followed by shows in major museums and galleries around the world. Galerie OstLicht is pleased to presents in Vienna a comprehensive exhibition, featuring well-known icons of the photographer alongside three of his latest groups of works.

David LaChapelle, Gas Shell
photo lachapellestudio.com

As a kick-off to the exhibition and the Life Ball a poster campaign in cooperation with Gewista with the images Once in the Garden (1) and Once in the Garden (2) will take place in public space starting May 12.

David LaChapelle, Amanda As Andy Warhol’s Liz
photo malesoulmakeup.wordpress.com

David LaChapelle, Rebirth Of Venus
photo smb.museum

David LaChapelle, Springtime
photo designboom.com

David LaChapelle, Once in the Garden (1 and 2)
photo pavleyeartandculture.com

via ostlicht.at

The post David LaChapelle: Once in the Garden appeared first on INHALE MAG.

Untitled, VMAN, Los Angeles, 2008 – Copyright Mario Testino

Mario Testino built his career on discovery and transformation, constantly redefining the boundaries of fashion photography. Travelling around the world, he sharpened his eyes creating his own aesthetic. In the babel of styles and trends, Testino invented a new language which translates the meaning of the term «fashion» from one country to the next, from one decade to the next.

Carolyn Murphy, Harpers Bazaar, St. Tropez, 1999 – Copyright Mario Testino

With Extremes, Mario Testino captivates the viewer with the extraordinary plurality of his work. Each of his images creates a world of elegance, beauty, style, and at the same time irreverence, and contradiction. He captures the interplay of mass media, celebrity, and glamour like no other, and offers a new understanding of the aesthetic of fashion photography. Anyone whom he photographs embodies the spirit of the moment. His sense of fashion has transformed many of his portraits into icons. This is why, a Testino portrait will always remain unmistakable.

Natasha Poly & Eva Herzigova, Vogue, España, Madrid, 2012 – Copyright Mario Testino

Lily Donaldson & Anja Rubik, Allure, New York, 2010 – Copyright Mario Testino

The gallery will present, for the first time in Europe, Alta Moda – literally “high fashion” in Spanish – a series of portraits of Peruvians wearing traditional and festive attire from the mountainous region of Cusco. While the series appears to reference the tradition of ethnographic photography, Testino has captured several stories within each photograph. Mario Testino has created a visual language, a true reflection of our time which is simultaneously timeless.

Qhapaq qolla dance costume. District and province of Paucartambo Cusco, Peru 2010 – Copyright Mario Testino

Men, Vogue Germany, Berlin, 2008 – Copyright Mario Testin

Mario Testino – “Extremes” Exhibition views – Photo Rebecca Fanuele

via yvon-lambert.com

The post Mario Testino at Yvon Lambert appeared first on INHALE MAG.

Who are these people, you wonder? They are swimmers, dancers, actors, performance artists.

photo theoutsiders.net

There is something poetic about her works, as if the images seen are from a dream. The contrast comes once you imagine the body in motion.
“I was inspired by Paris, the performances of the Moulin Rouge, the old circuses, wild abandonment and that feeling of letting go that explodes out of you like you’re drunk with love,” says the artist.

photo theoutsiders.net

photo theoutsiders.net

photo theoutsiders.net

photo theoutsiders.net

The post Christy Lee Rogers at The Outsiders London appeared first on INHALE MAG.

photo publicdelivery.org

The exhibition includes the first of a new series of images inspired by Hollywood comic-book heroes, set in isolated and idealized landscape settings. Some of these so-called ‘Super Hero’ works incorporate actual figures from the feature films – Iron Man 3, The Amazing Spider-Man – while others seek to convey impressions of instantly recognizable iconic characters. With an economy of means, these images assert the power of fantasy and the pervasiveness of pop cultural imagery and their combined effects on the collective consciousness.

photo junejoonjaxx.com

photo publicdelivery.org

photo fashioneditoratlarge.com

photo fashioneditoratlarge.com

via whitecube.com

The post Andreas Gursky at White Cube appeared first on INHALE MAG.

photo shootgallery.no

There is such precision in Hetta’s eye, and she can also create that double vision that is immediately returned to you. In other words, I’m looking at an image of a person who has just caught sight of me. How could one fail to be interested, attracted, entranced?! I’m not saying that that’s the secret, or the truth, but admit it’s pretty good: an artist who makes the beholder feel that he is being looked at.

photo juliahetta.com

photo juliahetta.com

photo juliahetta.com

photo juliahetta.com

photo juliahetta.com

via www.juliahetta.com/

The post Julia Hetta at Shoot Gallery appeared first on INHALE MAG.

Nadav Kander
Three Gorges Dam II, Yichang, Hubei Province
2007
photo blindspotgallery.com

Nadav Kander
Three Gorges Dam VI, Yichang, Hubei Province
2007
photo blindspotgallery.com

Nadav Kander
Chongqing III, Chongqing Municipality
2006
photo blindspotgallery.com

Kander’s work forms part of the collections at the National Portrait Gallery and the Victoria & Albert Museum in UK, the Art Gallery of New South Wales in Australia, Société Générale in France, the Franks-Suss Collection and the Pictet & Cie’s Art Collection.

Nadav Kander
Isley standing
2010
photo blindspotgallery.com

Nadav Kander
Michael standing
2010
photo blindspotgallery.com

Nadav Kander
Elizabeth sitting, 2012
photo blindspotgallery.com

Nadav Kander
Audrey lying away on black lace
2011
photo blindspotgallery.com

Nadav Kander
Isley with fawn I
2011
photo blindspotgallery.com

Nadav Kander
With Curves of Moon. Isley in Cosmos I, 2014
photo blindspotgallery.com

via blindspotgallery.com

The post Nadav KANDER AT BLINDSPOT GALLERY appeared first on INHALE MAG.

BRYCE WOLKOWITZ
brycewolkowitz.com
Since 2002, Bryce Wolkowitz Gallery has been showcasing new media art, photography and painting.The gallery represents some of the most influential artists in these areas along with an exciting roster of emerging artists.

Edward Burtynsky, Benidorm #1, Spain
photo parisphoto.com

Edward Burtynsky, Dyralaekir River on Myrdalssandur
photo parisphoto.com

EQUINOX
www.equinoxgallery.com
Established in 1972, Equinox Gallery is committed to the presentation of Canadian artists within an international context.

Adad Hannah, After a Gentle Storm
photo parisphoto.com

FLOWERS
www.flowersgallery.com
Flowers recently celebrated its 40th anniversary and opened a gallery space in New York. The gallery was one of the first to open in London’s East End during the 1980’s now with two gallery spaces in London.

Mona Kuhn, AD6209
photo parisphoto.com

GAGOSIAN
www.gagosian.com
Founded in 1980 by Larry Gagosian in Los Angeles, the Gagosian Gallery is one of the major international galleries, specialized in modern and contemporary art.

Carsten Höller, Giulianova Ondafan and Kong the 1st King
photo parisphoto.com

LOUISE ALEXANDER
www.louise-alexander.com
In 2008 Louise Alexander Gallery launched as one of the first contemporary spaces to inaugurate Aga Khan’s architectural vernacular resort of Porto Cervo, Sardinia.

Guy Bourdin, Charles Jourdan – Summer – 1974
photo parisphoto.com

LOEVENBRUCK
www.loevenbruck.com

Alain Declercq, BLAST / H Bomb
photo parisphoto.com

Alain Declercq, BLAST / Napalm 2
photo parisphoto.com

JENKINS JOHNSON
www.jenkinsjohnsongallery.com

Timotheus Tomicek, Sophia Revant
photo parisphoto.com

via parisphoto.com/losangeles

The post PARIS PHOTO LOS ANGELES 2014 appeared first on INHALE MAG.

photo magdalenakmiecik.com

While this project looked at hair as a sign of vitality, or a form of expression, her latest, Hair: in the relationship with… [above], focuses on the relationships and influence between people, nature, animals and other objects, with hair playing a connecting role.
“Another aspect I want to develop is the passing of time, shown through the human body; for example, grey hair and the process of ageing as the ultimate, physical aspect of our lives.”

photo magdalenakmiecik.com

The subjects in her images are mainly people Kmiecik knows, although sometimes they are people she has met in passing. All the images are carefully planned. “I’m always aware what kind of light I might be able to use – if I can use daylight, or whether I need to take extra lights with me. The same is true of composition. I take into consideration what I have planned to do – a landscape, portrait or a detail. There isn’t a single picture made by accident. Sometimes an unexpected moment can happen, but mostly it is just an exciting moment that can have a positive influence on the image.”

photo phmuseum.com

photo magdalenakmiecik.com

Visit www.magdalenakmiecik.com

via bjp-online.com

The post MAGDALENA KMIECIK : WHEN THE HAIR GROWS appeared first on INHALE MAG.

The hunting trophy is dead; this is the only way to get hold of it. A manifest of superiority, the trophy is a reflection of triumph. It satisfies the need to preserve the achievement and endows it with a visual expression. Unlike the forrest, the trophy is mouldable and can be mastered.

photo bastiangehbauer.com

photo bastiangehbauer.com

photo bastiangehbauer.com

photo bastiangehbauer.com

photo bastiangehbauer.com

via foliocue.com, bastiangehbauer.com

The post BASTIAN GEHBAUER : TROPHAE appeared first on INHALE MAG.

photo media.trendland.com

A video in which everything transforms into something new, leading the viewer through a ludic story of surprising scenes. The video was created for the luxury parisian brand Hermès and subtly features some of their key products.

All scenes were shot live.

photo media.trendland.com

photo media.trendland.com

photo valleeduhamel.com

photo valleeduhamel.com

Check out the video!

Hermès Métamorphose from Vallée Duhamel on Vimeo.

via valleeduhamel.com

The post VALLEE DUHAMEL : HERMES METAMORPHOSE appeared first on INHALE MAG.

One of his famous series is the one that revolves around masks. The artist takes the mask to a different level, thus creating something unexpected with it. The black and white help create a very clean image and the viewer can concentrate on the powerful idea:

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

photo holyholyfashion.com

via artandcommerce.com

The post RICHARD BURBRIDGE: PHOTOGRAPHY appeared first on INHALE MAG.

Even if chairs aren’t in regular rotation, most homes have at least a few plastic patio chairs. The design is classic and easily recognizable and that is what makes this photo series so good. Bert twists and reworks the legs and arms of the chairs to give them human-like qualities.

The ubiquitous white plastic monobloc chair is at it again – or rather, Bert Loeschner is. The artist and designer uses the infamous garden chair as a canvas for his projects. He explains, “The contrast between the design and the popularity of this chair leads to questions about the value of innovation, aesthetics and functionality in our way of consuming. The function of a chair is way more than sitting. It also exists to represent, present, communicate, protect, assist, to confine and so on…”
In the end, his work serves to inject a little humour – an emotional touch – into the humble and most ordinary.

Transformed using heat, ‘monobloc’, the titled series of reconstructed seating objects by Bert Loeschner is a hands-on project about the ‘infamous garden chair’ and its role in design culture.
the demonstration between both subject and object, these chairs are sometimes functional,
sometimes not.

His work is humorous, depicting emotion characters with their “arms” around each other, or playful swinging chairs. This project makes the viewer regard these typical chairs as less than garden furniture and more like sensitive anthropomorphic objects.

In the end, his work serves to inject a little humor — an emotional touch — into the humble and most ordinary.

- via http://bertloeschner.com/

The post BERT LOESCHNER : THE ART OF EVERYDAY PLASTIC appeared first on INHALE MAG.

photo fotografiska.eu

Inspired by her father who always carried his camera with him, Julia Fullerton-Batten decided to become a photographer at the age of sixteen. This firmness of purpose has characterised her career ever since. She was brought to the attention of the National Portrait Gallery in London, which commissioned her to produce a series of portraits. Her breakthrough came with the project Teenage Stories, a series where she conveys a teenager’s expectation as well as apprehension faced with adulthood.

While preparing for her series Mothers and Daughters (2012), Julia Fullerton-Batten got in touch with mothers who were enlisted to pose in their home environments together with their daughters. The resulting images capture the complex and constantly changing relationship between mother and daughter.

photo oeildelaphotographie.com

photo fotografiska.eu

In her most recent series, Blind (2013), Julia Fullerton-Batten has photographed blind people in environments of their own choosing, in order to make the viewer question his or her ideas of normality.

Julia Fullerton-Batten works as painstakingly and meticulously with coloration and composition as artists who paint. Under the seemingly glossy surface lurks a disquieting, almost ominous calm. There is a clear affinity with paintings of Balthus, Eric Fischl and Edward Hopper, and particularly Hopper’s Urbanscapes with its simple rhythm in the composition and its feeling of stillness and alienation. These are qualities that Fullerton-Batten admires and has used in her images.

photo fotografiska.eu

photo fotografiska.eu

Julia Fullerton-Batten often sets out from a conceptual idea. When she has decided on a project, a long process begins:
“The planning phase involves hardening up my ideas on scenes, choices of location, models, clothing, props, etc. The day or days of the shoot also require considerable preparation – selecting my team, hiring additional lights or equipment that may be needed, arranging the logistics of getting my team and the models to the location and for accommodation (if needed). The shoot itself can take just a couple of days,” she explains.

photo oeildelaphotographie.com

photo oeildelaphotographie.com

photo fotografiska.eu

photo fotografiska.eu

photo loeildelaphotographie.com

via fotografiska.eu

The post JULIA FULLERTON-BATTEN AT FOTOGRAFISKA, STOCKHOLM appeared first on INHALE MAG.

photo style.com

In recent years, she has let her clothing designs become constituent parts of three-dimensional sculptural installations. Seeing that her works are situated in the cross field between design, crafts and art, Nikoline Liv Andersen is evidently seeking to relocate the limits of our understanding of design and clothing and to challenge her audience when it comes to their perceptions of the world around us. Ever since her departure from the Danish Design School she has, on her own initiative, been presenting a number of fashion shows in different spots in Europe.

photo dianepernet.typepad.com

Moreover, Nikoline Liv Andersen has been working in collaboration with the firm, Saga Furs, where she has played a role in experimenting with fur as a material and in developing new ways of treating fur and of piecing furs together. In this connection, she has taken part in several of Saga Furs’ demonstrations being presented all over the world.

photo dianepernet.typepad.com

photo vimeo.com

photo vimeo.com

photo arterritory.com

Nikoline Liv Andersen “Kun Engle Har Vinger” from Michael Rygaard on Vimeo.

via nikolinelivandersen.dk

The post NIKOLINE LIV ANDERSEN AT DESIGN SOCIETY appeared first on INHALE MAG.

Whitney Museum of American Art, 945 Madison Avenue, New York, NY; Architect: Marcel Breuer and Hamilton Smith (1963–1966). Photograph by Jerry L. Thompson

As the preeminent institution devoted to the art of the United States, the Whitney Museum of American Art presents the full range of twentieth-century and contemporary American art, with a special focus on works by living artists. The Whitney is dedicated to collecting, preserving, interpreting, and exhibiting American art, and its collection—arguably the finest holding of twentieth-century American art in the world—is the Museum’s key resource. The Museum’s signature exhibition, the Biennial, is the country’s leading survey of the most recent developments in American art.

EI ARAKAWA & CARISSA RODRIGUEZ IN NEW YORK, JANUARY 2014. ON ARAKAWA: SHIRT: SANDRO. ON RODRIGUEZ: TOP: MILLY. STYLIST: VANESSA CHOW.
One of the most highly anticipated projects of this year’s Whitney Biennial is the collaboration between Ei Arakawa, the New York-based performance artist with a growing cult following, and Carissa Rodriguez, most familiar as a director of the Lower East Side gallery Reena Spaulings Fine Art.

“Hawaiian Presence” , by EI ARAKAWA & CARISSA RODRIGUEZ

Innovation has been a hallmark of the Whitney since its beginnings. It was the first museum dedicated to the work of living American artists and the first New York museum to present a major exhibition of a video artist (Nam June Paik in 1982). Such figures as Jasper Johns, Cy Twombly, and Cindy Sherman were given their first museum retrospectives by the Whitney. The Museum has consistently purchased works within the year they were created, often well before the artists became broadly recognized. The Whitney was the first museum to take its exhibitions and programming beyond its walls by establishing corporate-funded branch facilities, and the first museum to undertake a program of collection-sharing (with the San Jose Museum of Art) in order to increase access to its renowned collection.
The 2014 Whitney Biennial will take a bold new form as three curators from outside the Museum—Stuart Comer (Chief Curator of Media and Performance Art at MoMA), Anthony Elms (Associate Curator at the Institute of Contemporary Art, Philadelphia), and Michelle Grabner (artist and Professor in the Painting and Drawing Department at the School of the Art Institute, Chicago)—each oversee one floor, representing a range of geographic vantages and curatorial methodologies.

For the Biennial, Beasley plans to conflate his two practices, creating sculptures from concrete and fabric, each with a microphone buried within, so as to capture what he calls the object’s “internal architecture.”

Donna De Salvo, Chief Curator and Deputy Director for Programs at the Whitney, noted: “The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.”

ABOVE: EMILY SUNDBLAD IN NEW YORK, JANUARY 2014. TOP: MIU MIU. STYLING: VANESSA CHOW. COSMETICS : CHANEL, INCLUDING SUBLIMAGE LA CRÉME. HAIR PRODUCTS: ORIBE, INCLUDING SMOOTH STYLE SERUM. HAIR: ANDRE GUNN FOR ORIBE/THE WALL GROUP. MAKEUP: KRISTI MATAMOROS FOR CHANEL/KATE RYAN INC. SPECIAL THANKS: TENTON STUDIO
For the Whitney Biennial, co-curator Michelle Grabner asked painter, gallerist, and musician Emily Sundblad to contribute a video.

This Biennial will be the last to take place in the Whitney Museum of American Art’s building at 945 Madison Avenue at 75th Street before the Museum moves downtown to its new building in the spring of 2015. This is the 77th in the Museum’s ongoing series of Annuals and Biennials begun in 1932 by Gertrude Vanderbilt Whitney.

You can see the full list of the exhibited artists by following this link.

The Whitney Museum of American Art’s 2014 Biennal includes Zoe Leonard’s camera obscura view of the street outside the museum.
Suzanne DeChillo/The New York times

“Aviarium, a sculpture series by Terry Atkins.

Clothing by Lisa Anne Auerbach

Detail of a wall of paintings by Keith Mayerson

An installation by Public Collectors with personal objects from Malachi Ritscher

via http://whitney.org/ and interviewmagazine.com

The post THE 2014 WHITNEY BIENNIAL STARTS TODAY appeared first on INHALE MAG.

photo uk.news.yahoo.com

Alex MacLean graduated from Harvard with a Master of Architecture degree in 1973. His interest in aerial scenes came about through his study and understanding of community and commercial planning from an architectural perspective. Securing his pilot’s license just 2 years after graduating, MacLean set up his own business specialising in aerial photography for architects, designers, planners and environmentalists. This quickly developed into a private artistic practice, which has blossomed over thirty years into one of the world’s most significant archives of aerial photography.

photo natarajank.com

photo richardjames.co.uk

photo alex-maclean.tumblr.com

photo dtail.com

Alex MacLean has produced 11 books and has continued to consistently win awards for his work, including the 2009 CORINE International Book Award. His work has been shown in galleries around the world and can be found in numerous private, public and university collections. This show aims to display some of MacLean’s most striking photographs in celebration of the artist’s exceptional contribution to photography.

photo mymodernmet.com

photo wsimagazine.com

via beetlesandhuxley.com

The post ALEX MACLEAN AT BEETLES AND HUXLEY appeared first on INHALE MAG.

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

Maurizio Cattelan and Pierpaolo Ferrari/New York Magazine
photo nymag.com

via nymag.com

The post MAURIZIO CATTELAN SURELY KNOWS HOW TO HAVE FUN appeared first on INHALE MAG.

‘Miles Aldridge is a director at heart. Each photograph has a very sacred pathology to every angle and obsession to detail. There is genius in the very deliberate blankness on the face of the models that enables a transference of identity. He always draws you into an arrested fetish that seems as forbidden as a little girl’s diary.’ –Marilyn Manson

This spring, Christophe Guye Galerie hosts The Age of Pleasure – a major exhibition of photographer Miles Aldridge’s work, to coincide with the publication of the book I Only Want You to Love Me, published by Rizzoli. This is the first solo exhibition of his work to date in Switzerland and will include small, medium and large-scale photographic prints from throughout his career including previously unpublished material. In combination with the unique colour world of art the gallery shines not in classic white but in bright colors for once.

Miles Aldridge, Its All About Attitude
photo christopheguye.com

A fiercely original photographer, Miles Aldridge is best known for the technicolor dream-like worlds he creates and the glamorous, beautiful women who inhabit them. Aldridge creates ultra-cinematic images, drawing inspiration from film directors such as David Lynch and Federico Fellini as well as the psychedelic graphic design of his father, Alan Aldridge.

Miles Aldrige, Like a Painting,
photo christopheguye.com

Aldridge’s photographs often depict women in haute-Stepford mode splashed with lurid candy colors. He captures his subjects in a state of dramatic contemplation, making them more complicated and intriguing than simply beautiful. As Glenn O’Brien describes, ‘Miles Aldridge constructs dreams… He understands the essential ingredients of the dream and he uses impeccable instinct in crafting the fragmented narratives… an exquisite tapestry of right and wrong [defying] our waking order of things, our expectations and sensibility.’

Miles Aldridge, Cabaret
photo christopheguye.com

Miles Aldridge, Home Work
photo christopheguye.com

Miles-Aldridge, I Only Want You to Love Me
photo christopheguye.com

Miles Aldridge, The Kiss
photo christopheguye.com

MILES ALDRIDGE
The Age of Pleasure
13th March – 24th of May 2014
via christopheguye.com

The post MILES ALDRIGDE: THE AGE OF PLEASURE appeared first on INHALE MAG.

Denise Grunstein
photo worbz.com

Denise Grünstein, Headhunter
photo slash-paris.com

Curated by Greger Ulf Nilson, the exhibition strives to create a balance between art and fashion photography by taking into account cultural history as well as the photographers’ personal experiences. Denise Grünstein, Julia Hetta, Martina Hoogland Ivanow, Julia Peirone, and Elisabeth Toll belong to a new generation of Swedish fashion photographers whose work is found in both international fashion publications and art institutions worldwide. In her maverick photographs, Denise Grünstein masterfully switches between atmospheres, both in her own creations and works she has done on commission. Her main focus is the theme of women and nature, creating a powerful and suggestive visual world.

Denise Grunstein
photo worbz.com

Julia Hetta’s romantic images depict an alternate universe inhabited by mysterious and omniscient beings, composed of saturated colors and realistic textures.

Julia Hetta
photo juliahetta.com

Julia Hetta
photo juliahetta.com

Julia Hetta
photo juliahetta.com

Julia Hetta
photo juliahetta.com

Martina Hoogland Ivanow’s photographs have a real and poetic presence, combined with a menacing, hypnotic aesthetic.

Martina Hoogland Ivanow
photo martinahooglandivanow.com

Julia Peirone captures fleeting moments beyond our control.

Julia Peirone
Nike
photo juliapeirone.com

Julia Peirone
Lovisa
photo juliapeirone.com

Elisabeth Toll’s photographs are inspired by personal memories, stories, impressions, and sensations, with strong links to architecture and surrealism.

Elisabeth Toll
photo lundlund.com

via aperture.org

The post DIFFERENT DISTANCES: FASHION PHOTOGRAPHY GOES ART appeared first on INHALE MAG.

via vogue.com

The post HYERES FESTIVAL 2014 ANNOUNCES NOMINEES appeared first on INHALE MAG.

Alison Rossiter’s moody abstractions, for example, are the outcome of simply processing expired film paper. In Russian USSR (Siberia), Rossiter took the Soviet stock she purchased off the Internet (it expired in 1957, untouched) and submerged it in developer. The shadowy configuration that surfaced in 2009 reveals the paper’s past life—decades spent, perhaps, on a dusty shelf in Novosibirsk. Rossiter more directly intervened with Fuji gaslight, expired film from the 1920s, by pouring chemicals onto the paper to painterly, erotic effect; the resulting negative space suggests a woman’s parted legs. Obsolescence is a recurrent theme for the contemporary photographers included in the exhibit, as 20th-century tools began to disappear with the rise of digital technology in the 1990s. For artists still interested in analog photography, the scarcity of, say, Kodachrome film has pushed them into new territory. “Because a lot of analog materials are no longer being manufactured, I saw a lot of people [making] a kind of last-ditch effort to use a medium that they’ve worked with for a long time and love,” explains Squiers. “But it just seemed to inspire this great burst of more experimental photography.”

This current phenomenon, when considered alongside earlier Conceptual art made in the seventies and eighties, such as Sigmar Polke and Gerhard Richter’s painted photographs, proposes “an explosion of photographic activity,” says Squiers of the exhibit. Not everyone is resisting Photoshop, however. Computer manipulation plays a prominent role in the work of 27-year-old Travess Smalley, who assembles collages onto a scanner bed, then toys with the shapes further on-screen. His pigment print Capture Physical Presence #7 holds all the playfulness of a Matisse decoupage, while the planetary forms and Hypercolor shades in another composition conjure the primitive graphics of early MTV. A

similarly galactic motif appears in Letha Wilson’s gelatin silver Photogram New York (Nova Scotia) and again in David Benjamin Sherry’s untitled teal tableau, textured with sand and evoking the pocked surface of Mars. Testing the bounds of the medium, the most far-out of Squiers’s selections are the “durational photographs” by Canadian artist Owen Kydd. Mounted on display screens, these looped videos are framed like a conventional photographic object, but the images on view evolve moment by moment, as in Pico Boulevard (Nocturne), where the light refracted onto bric-a-brac in a storefront window changes with every passing car. As for where photography is headed next, Squiers sees it going “in a million different directions,” some of which, she adds, “artists are in the process of dreaming up right now.”

“What Is a Photograph?” is on view at the International Center of Photography in New York from January 31 through May 4, 2014; icp.org

Gerhard Richter, 16.3.03, 2003
Oil on color photograph.
Photo: © Gerhard Richter, Courtesy Marian Goodman Gallery, New York

Lucas Samaras, Auto Polaroid, 1969-71
Color instant print (Polacolor), with hand-applied ink.
Photo: © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY

David Benjamin Sherry, Lower Yosemite Falls, Yosemite, California, 2013
Chromogenic print.
Photo: © David Benjamin Sherry, Courtesy of the artist and Salon 94, New York

James Welling, 0806, 2006
Inkjet print.
Photo: © James Welling, Courtesy of David Zwirner, New York/London

Christopher Williams, Supplement ’13 (Mixed Typologies) #3 (detail), 2013
Offset prints and tape on paper.
Photo: © Christopher Williams, Courtesy of David Zwirner, New York/London and Galerie Gisela Capitain, Cologne

Matthew Brandt, Grays Lake, ID 7, 2013
Chromogenic print, soaked in Grays Lake water.
Photo: © Matthew Brandt, Courtesy of Yossi Milo Gallery, New York

Marco Breuer, Study for (Metal/Day), 2000
Gelatin silver paper, burned.
Photo: © Marco Breuer, Courtesy of Yossi Milo Gallery, New York

via vogue.com

The post WHAT IS A PHOTOGRAPH? appeared first on INHALE MAG.

Untitled #175, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Towering giraffes, shot in various U.S. zoos, populate a hazy, desolate landscape created from images taken in Turkey, Bali and Iceland; spectacular Javan peacocks from Asia are camouflaged within a Spanish pepper tree; and the interior of an Icelandic volcano forms the setting for a gooey tar pit where Peruvian yellow-hooded blackbirds nest. Each image confuses the boundaries between opposing forces such as the natural and the artificial, the beautiful and the eerie, the known and the unknown. These dynamic tensions reflect internal conflicts and contradictions inherent to human nature that fuel Johan’s work.

Untitled #178, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Untitled #172, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Solo exhibitions of Until the Kingdom Comes have been presented at the David Winton Bell Gallery of Brown University, Providence; Frist Center for the Visual Arts, Nashville; 21c Museum, Louisville; and the Pollock Gallery at Southern Methodist University, Dallas. Johan’s work is held in the permanent collections of the Los Angeles County Museum of Art; Brooklyn Museum, New York; Cleveland Museum of Art; Brandts Museum of Photographic Art, Denmark; Museum of Fine Arts, Houston; and the Denver Art Museum, among others. The artist received the Pollock- Krasner Foundation Grant in 2009 and was awarded the George A. and Eliza Gardner Howard Foundation Grant from Brown University in 2012. Simen Johan was born in Norway in 1973, raised in Sweden, and lives and works in New York City.

Untitled #166, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Untitled #174, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Untitled #176, 2013
From the series Until the Kingdom Comes
photo yossimilo.com

Untitled #168, 2011
From the series Until the Kingdom Comes
photo yossimilo.com

 
via yossimilo.com

The post SIMEN JOHAN AT YOSSI MILO appeared first on INHALE MAG.

photo davidlachapelle.com

Since the meteorite that caused the last ice age, no event has changed the earth or humanity as much as the recent use of fossil fuels. No war, religion, society, or political structure has impacted us more greatly in all history. Over the last 150 years (the industrial revolution) oil has become the earths’ one unifying religion, gas stations our one common temple. All facets of the modern world are made possible through the use of fossil fuels. Agriculture, transportation, and the explosion in population are omnipresent across borders of countries and beliefs. Due to a cataclysmic event that radically changed the environment, forests buried under ice became fossil fuel. Ironically we now pump that same CO2 back into the atmosphere today.

photo davidlachapelle.com

photo davidlachapelle.com

The Gas Stations were shot on location in the rain forests of Maui. This ancient jungle can engulf the past, and at the same time represent the very matter that created the fuel. Recalling the calm emptiness of an Edward Hopper painting, the Gas Stations are a new take on the American landscape. They exemplify an isolation that proliferates and is built deeply into our culture. The analog scale models show the imperfections of a human hand, much in the same way that our man made system of creating energy is imperfect. However these images are not didactic, neither condemning, or condoning. They just are, they are what made our world possible. Its what we do with our approach now, which will decide our fate.

photo davidlachapelle.com

photo davidlachapelle.com

photo davidlachapelle.com

photo davidlachapelle.com

photo davidlachapelle.com

via davidlachapelle.com

The post DAVID LACHPELLE AT GALLERY MARUANI & NOIRHOMME appeared first on INHALE MAG.

The four shortlisted artists have been nominated for the following projects:
Alberto García-Alix (b. 1956, Spain) is nominated for his publication Autorretrato/Selfportrait, La Fabrica Editorial (2013). The book features black and white self-portraits which offer an insight into the artist’s life over nearly four decades. These include the upheavals at the end of Franco’s dictatorship in the early 70s through newly gained liberties in the mid-80s and into the present day. The works reflect a life of both intimacy and excess, where photography is used to mediate experiences, fears, neuroses and inner battles. His tense and lyrical images blur – visually and metaphorically – the line between self-reflection and staged portraits. In his wider practice, García-Alix also combines photography with writing and video work.

photo pinterest.com

photo lavirreina.bcn.cat

photo theguardian.com

Jochen Lempert (b. 1958, Germany) is nominated for his exhibition Jochen Lempert at Hamburger Kunsthalle (22 June – 29 Sept 2013). Originally trained as a biologist, Lempert has been using photography since the early 1990s to study humans and the natural world. His approach is scientific and poetic as well as humorous. Always working in black and white, his work engages with a diverse range of subjects and genres, ranging from everyday views, to abstracted details. Photographic series alternate with single pictures, highly contrasted images with almost blank papers, through which multiple links and subtle associations are woven.

photo hamburger-kunsthalle.de

Richard Mosse (b.1980, Ireland) is nominated for his exhibition The Enclave at Venice Biennale, Irish Pavilion (1 June – 24 November 2013). Mosse documents a haunting landscape touched by appalling human tragedy in eastern Democratic Republic of Congo, where 5.4 million people have died of war related causes since 1998. Shot on discontinued military surveillance film, the resulting imagery registers an invisible spectrum of infrared light, and renders the jungle warzone in disorienting psychedelic hues. At the project’s heart are the points of failure of documentary photography. It is an attempt to find an alternate strategy to adequately communicate this complex and horrific cycle of violence.


photo huffingtonpost.com

photo hyperallergic.com

photo wired.com

photo texphrastic.com

 
Lorna Simpson (b. 1960, USA) is nominated for her exhibition Lorna Simpson (Retrospective) at Jeu de Paume, Paris (28 May – 1 September 2013). Simpson’s work links photography, text, video installations, most recently archival material and found objects. Emphasizing a conceptual and performative approach, she explores themes of gender, identity, culture, memory and body. Simpson works within the charged duality of past and present, word and image but also plays with the interplay between still and moving images.

photo theoria.fr

photo paris-art.com

 
The members of the Deutsche Börse Photography Prize 2014 jury are: Kate Bush,Curator; Jitka Hanzlová, Artist; Thomas Seelig, Director/Curator, Fotomuseum Winterthur; andAnne-Marie Beckmann, Curator, Art Collection Deutsche Börse, Germany. Brett Rogers, Director of The Photographers’ Gallery, is the non-voting Chair.

via thephotographersgallery.org.uk

The post DEUTSCHE BÖRSE PHOTOGRAPHY PRIZE 2014 appeared first on INHALE MAG.

On view at 201 Chrystie Street will be the large-format, elaborately staged crowd scenes, while the  540 West 26th Street location will present an immersive three-channel video installation.

Shot on a Los Angeles soundstage in early 2013, Face in the Crowd is Prager’s most complex and ambitious work to date. The artist directed hundreds of actors on constructed sets to create portraits of large crowds at airport terminals, lobbies, beaches, movie theaters and other public spaces. For each scene, Prager taps into a shared cultural memory to create images that are familiar yet strange. The characters, clothing, hairstyles and poses are all carefully chosen by the artist to convey a range of time periods from mid-century to the present and recall cultural references drawn from street photography and classic Hollywood cinema.

The ambiguity of the eras and locations suggest a sense of timelessness while also creating a world that synthesizes fiction and reality. The viewer is removed from the scenes at seemingly impossible vantage points and peer over the crowd of individual characters, each connected by their close proximity, yet simultaneously isolated in their own private worlds. The countless facial expressions are directed toward no person in particular and suggest private thoughts and solitary emotions. In an age of increased communication through technology, where in some ways we are more connected than ever, Prager’s scenes of disconnected characters within the crowd remind us of the resulting decline of interpersonal contact in our media saturated society.

540 West 26th Street
New York, NY 10001
Telephone 212.255.2923
Fax 212.255.2924
newyork@lehmannmaupin.com

201 Chrystie Street

New York, NY 10002
Telephone 212.254.0054
Fax 212.254.0055
newyork@lehmannmaupin.com

See more features on Alex Prager here

via www.lehmannmaupin.com

The post ALEX PRAGER’S ‘FACE IN THE CROWD’ AT LEHMANN MAUPIN GALLERIES appeared first on INHALE MAG.

V&A has selected from its vast archives some 30 images that denies the assumption that photography captures ‘the truth’. Since the early days of its history indeed, the medium has also been used to stimulate viewer’s imagination or simply to deceive.

The exhibition is small but dense with narratives that entertain, betray, trouble or convey extra layers of information. Some of the stratagems used in these images are subtle, others are downright theatrical.

Nothing in Oliver Boberg‘s images is what it seems. He selects a location, takes a snap of it then goes back to his studio where he builds a model of the place, carefully lights it and then photographs the scene from predetermined vantage points.

Oliver Boberg Garteneingang
photo mingshizhao88.wordpress.com

He calls the result “generic modernism”. His ‘locations’ are banal and familiar urban scenes, yet they are alien, stripped of any human or non human life. A reality so controlled and constructed, it becomes almost abstract.

Bridget Smith´s image depict sets purposely built for an activity that the photographer does not represent as such. The bathroom below is an empty stage set used in the porn industry. The photo is part of the series “Glamour Studios” which catalogues architectures of desire.

Bridget Smith, Glamour Studio
photo frithstreetgallery.com

Gregory Crewdson works on a Hollywood movie scale with actors and a large crew but it is only after an elaborate process of digital editing that an effect of “hyper-visuality” arises in both the details and the ensemble of these American suburb scenes. More than film stills, Crewdson’s images are ‘frozen moments’, they allude to mysterious, disturbing events usually taking place at twilight. The puzzling scenes leave viewers wondering what has just taken place or what is going to happen.

Gregory Crewdson -Untitled (The Father)
photo artblart.files.wordpress.com

Gragory Crewdson, Untitled (Temple Street)
photo artblart.files.wordpress.com

Gregory Crewdson
photo theamericanreader.com

Cindy Sherman-Untitled (#74)
photo art21.org

Wang Qinsong, Night Revels of Lao Li, 2000
photo mingshizhao88.files.wordpress.com

via we-make-money-not-art.com and vam.ac.uk

The post PHOTOGRAPHIC FICTIONS EXHIBITION appeared first on INHALE MAG.

photo olafbreuningphoto.tumblr.com

His latest works imply color and smoke, and he is definitely interested in using light.

photo olafbreuningphoto.tumblr.com

photo olafbreuningphoto.tumblr.com

photo olafbreuningphoto.tumblr.com

photo olafbreuningphoto.tumblr.com

via saatchigallery.com

The post OLAF BREUNING WORKS WITH COLOR appeared first on INHALE MAG.

Nadav Kander
photo flowersgallery.com

Nadav kander
photo flowersgallery.com

Now in its eighth year, Art Projects features London’s emerging contemporary artists and galleries presenting solo shows, curated group displays and large-scale installations, this year including Limoncello, COLE, Hannah Barry Gallery, The Sunday Painter, Ceri Hand Gallery and Poppy Sebire. Exhibiting at the Fair for the first time, the Artist-Led Initiatives Support Network (A.L.I.S.N) will present a selection of the most sophisticated of artist-led projects in the UK and also show as part of Art Projects Film and Performance Programme. Visitors to the Fair will be greeted by Tread Pad – a monumental sculpture by James Capper, represented by Hannah Barry Gallery.
Photo50 is an exhibition of contemporary photography and features fifty works – many for sale – this year curated by Nick Hackworth, Director of Paradise Row. Hackworth’s exhibition, titled A Cyclical Poem, will ask us to consider the idea of historical change through the work of photojournalists and documentary photographs from the 1970s to the present day.

Jacopo Miliani
photo londonartfair.co.uk

Sung Feel Yun
photo londonartfair.co.uk

Laurent Chéhère
photo londonartfair.co.uk

Those attending London Art Fair can visit The Macallan’s Masterclass lounge for an introduction to The Macallan and to view the third edition of their The Masters of Photography Series, featuring Annie Leibovitz photographs of Kevin McKidd, whilst enjoying a dram of The Macallan Gold, the newest edition to The Macallan’s portfolio.

via londonartfair.co.uk

The post LONDON ART FAIR 2014 appeared first on INHALE MAG.

Born in small-town rural Australia in 1983, Dean’s love for photography began in his high school’s darkroom- one of the largest darkrooms in the country at the time- and blossomed at the Queensland College of Art, Griffith University, Brisbane, Australia. After graduating in 2007 with a Bachelor of Photography with majors in visual culture and advertising, Dean formed a partnership, Berg+West, which won nationwide acclaim as a high-end photography and post-production studio. Through clients like the QLD Government and SONY, Dean quickly learned to transform stick figure sketches into intricate composited photographs with immense detail and clarity.

photo inpiecescollection.com

photo inpiecescollection.com

In 2008, Dean was included in Saatchi & Saatchi’s collection of the world’s top 100 emerging photographers and went on to win Advertising Photographer of the Year at the International Aperture Awards. With success in advertising and a growing list of collectors- Dean decided to dedicate more of his time to the world of art. In the following years, his series ‘Fabricate’ received worldwide recognition from top photography competitions, including: the International Colour Awards, the Lucie Awards, the Loupe Awards, and in 2009, Dean was the winner of the IV International Arte Laguna Prize, Venice, Italy.

photo inpiecescollection.com

photo inpiecescollection.com

photo inpiecescollection.com

via inpiecescollection.com

The post AN ARTIST TO WATCH: DEAN WEST appeared first on INHALE MAG.

As an image maker Tobias captures the pulse of our constantly moving and morphing culture. He has been called “visionary” by AD Magazine and “one of the most exciting new artists working in photography.” He is based in New York City.

Skulptur series

photo tobiashutzler.com

photo tobiashutzler.com

photo tobiashutzler.com

photo tobiashutzler.com

Figures series

photo postmods.com

photo postmods.com

photo postmods.com

Körper series

photo postmods.com

photo postmods.com

photo postmods.com

photo postmods.com

via tobiashutzler.com

The post TOBIAS HUTZLER AND THE HUMAN BODY appeared first on INHALE MAG.

photo news.vh-artists.com

photo news.vh-artists.com

photo news.vh-artists.com

A Testament to Love’ is a narrative about the struggles of life when love goes wrong.
The women in my images wrestle with the eternal search for a happy ending, but find themselves left with feelings of solitude, loneliness, fear, regret and resignation. Are they searching for a meaning to their lives or just waiting for something to happen.
Each image is set against a cinematic background, which is inspired by the style of locations and lighting in Hollywood films from the 1960s and 1970s as well as the iconic work of Edward Hopper. I use hard lighting and prefer atmospheric skies to heighten the drama in broad daylight.
These images are like stills from a movie and I have captured the moment just before or just after the climax of the scenario. They illustrate the outcome of an unsuccessful meeting with a lover, the product of a painful goodbye or maybe just a reflection of our own inner anxieties.
These scenarios are laden with emotion and tension and leave the viewer with more questions than answers. However the women are not simply passive recipients of life’s drama but an integral part with their own important roles to play. They are empowered.
Are they being followed or are they following? Are they leaving or have they been left?
It’s up to the viewer to decide, but I would guess the conclusions reveal as much about the viewers experiences as my intentions.

photo news.vh-artists.com

photo news.vh-artists.com

photo news.vh-artists.com

photo news.vh-artists.com

via vh-artists.com

The post JULIA FULLERTON-BATTEN: A TESTAMENT TO LOVE appeared first on INHALE MAG.

Paula invites its viewer to participate in a dialogue with time, art and him-/herself. In his works Hendrik Kerstens addresses the tradition of XVII century Dutch portraiture. The images by Rembrandt, Vermeer, Frans Hals find in his works an unusual and controversial manifestation.

Paula is an allegory of eternal femininity put in contemporary context. Approachable and defiant, caring and distant, provocative and pedantic, she stares directly at the viewer. With a black backdrop, her pale skin reminds one of white marble. Her confident and proud gaze will keep your mind occupied with Paula for a long time.

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo harpersbazaar.com

Hendrik Kerstens was born in 1956 in The Hague. He studied photography on his own and in 1995 he decided to dedicate himself completely to photo-art. His professionalism was first noticed because of his works documenting the major landmarks of his daughter’s life. In 2008 he received Taylor Wessing award in the field of photo-portrait.

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo parisphoto.com

Hendrik Kerstens’ works were exhibited in Amsterdam, Brussels, London, New York, Los Angeles and Latin America and are featured in various collections, including Erasmus University of Rotterdam, Santa Barbara Museum of Art, Gemeente Museum in The Hague and private collections. His photographs were published in the American Photo Magazine and featured on the covers of Domus, The New York Times Magazine, ARTnews Magazine. In 2013 Kertens’ photo-session for Harper’s Bazaar was prized with Lucie Awards.

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo janealdenstevens.com

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo youngphotocomp.blogspot.com

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo nunccontemporary.com

© Hendrik Kerstens, Courtesy Perspectiva Art.
photo www.designboom.com

As a part of the Russia-Netherlands cross-cultural year this exhibition was shown in Moscow, Nizhniy Novgorod and Ekaterinburg.
via erarta.com

The post PAULA: EXHIBITION BY HENDRIK KERSTENS appeared first on INHALE MAG.

The post TOYIN ODUTOLA AT ART BASEL MIAMI BEACH appeared first on INHALE MAG.

photo instagram.com

photo instagram.com

photo instagram.com

photo instagram.com

photo twitter.com

The post NICK KNIGHT, SHOWSTUDIO AND GARAGE MAGAZINE – A TATTOO STORY appeared first on INHALE MAG.

The artists featured in the exhibition are Richard Gray, Piet Paris, Cathrine Raben Davidsen, Laura Laine, Claire Barrow, Tobie Giddio, Valerie Servais, Kukula, Rei Nadal, Tara Dougans, Amelie Hegardt, Helen Bullock, Fiona Gourlay, Stephen Doherty, Jowy Maasdamme, Josie Hall, Conrad Roset, Quentin Jones, Jo Ratcliffe, Neza Agnes Momirski, Alexandra Levasseur.

photo showstudio.com/

Jowy Maasdamme
scent Lazy Sunday Morning
photo showstudio.com

Dazed and Digital asked Nick Knight some questions:

DD: What’s the earliest memory you can remember?

Nick Knight: The ‘ winklepicker ‘ shoes of the biker who lived next door to my family.

DD: Which scent triggers strong memories for you?

Nick Knight: Serge Lutens. 

DD: What’s the scent of your childhood?

Nick Knight: My grandmother wearing Dior’s Diorissimo.

DD: Fondest memory to date?

Nick Kinght: I don’t look to the past for happiness, the future is always more exciting.  

DD: Strongest memory from your teenage years?

Nick Knight: Discovering soul music. 

DD: How did you go about capturing memories for the SHOWstudio x Margiela exhibition?

Nick Knight: We asked 21 of the world’s most exciting fashion illustrators to try one of the new Margiela fragrances and draw the memory the fragrance evoked in them using one of 21 selected fashion models as their subject.

DD: What memory do you which you could erase from your mind?

Nick Knight: None. I stand by all I have done.

Laura Laine
scent Promenade in the Garden
photo showstudio.com

Piet Paris
scent Jazz Club
photo showstudio.com

Conrad Roset
scent Jazz Club
photo showstudio.com

Alexandra Levasseur
scent Lazy Sunday Morning
photo showstudio.com

photo dazeddigital.com

The post PERFUME AND MEMORIES: NICK KNIGHT AND MAISON MARTIN MARGIELA appeared first on INHALE MAG.

photo cultuurbewust.nl

photo cultuurbewust.nl

Artist’s wallpaper
The sets for Erwin Olaf by Floris Vos are combined with the exhibition Bekleidung. In the nineteenth century, this term – based on the distinction between a wall and a wall surface – referred to the delimitation of space as the primary purpose of architecture. But what does the term mean today if the artist views a decorative wall surface as a place for the imagination? Bekleidung presents artist’s wallpaper selected by guest curator Erich Weiss and including designs by Sylvie Fleury, Damien Hirst, General Idea, Sarah Lucas, Andy Warhol and others.
Various lectures, debates, seminars and workshops and guided tours are being organised in connection with the exhibition, such as the Benno Premsela Lecture on 24 November. 1:1 Sets for Erwin Olaf will be accompanied by the publication of an essay.

photo cultuurbewust.nl

Interior triptych
The interior triptych will continue in Het Nieuwe Instituut in the next few years with 1:1 Period Rooms and 1:1 Showrooms. The former will delve into the interior as an educational model, while 1:1 Showrooms will focus on the interior as a seductive resource.

photo cultuurbewust.nl

photo sophiasbfilm.files.wordpress.com

via hetnieuweinstituut.nl

The post 1:1 SETS FOR ERWIN OLAF appeared first on INHALE MAG.

In this case, the products in question are lip color cosmetics that are showcased in a palette of dynamic hues ranging from classic crimsons to the outrageous blues. Model Echo Nittolitto poses in the fashion fiend image series that features bold beauty looks courtesy of makeup artist Michelle Court.

From Yves Saint Laurent’s electric blue lips to Gucci’s purple pucker, the Steve Kraitt “Designer Drugs” beauty story highlights perfect lips and pill props that boast the logos of some of fashion’s most coveted labels.

-via trendhunter.com

The post FASHION IS A DRUG – WHAT ABOUT DESIGNER DRUGS? appeared first on INHALE MAG.

While fashion collections are often very straight-forward in terms of their overall themes and styles, Stéphanie Baechler seeks to stretch the boundaries by creating collections that beautifully blend abstract geometric forms with carefully detailed clothing. Using properties of rock and marble to enhance the structural forms of ordinary pieces of apparel, this Lodonite collection showcases how Baechler uniquely corresponds the layers found within rocks to the intricate folding and layering of the abstract clothing.

Showcasing that there are simply no bounds when it comes to fashion and design, this Lodonite collection by Stéphanie Baechler will surely intrigue both artists and designers looking to keep up with modern fashion inspirations.

-via http://stephaniebaechler.com/27-lodonite_

The post LONDONITE – MINERAL DESIGNS BY STEPHANIE BAECHLER appeared first on INHALE MAG.