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Gregory Crewdson. Postcards from another world

This pho­to­grapher is unlikely to be seen with a cam­era in his hands dur­ing a photo ses­sion, although there is an art dir­ector, lots of all kinds of assist­ants, dec­or­at­ors, con­struct­ors, light­ning experts and tech­ni­cians pop­ping in and out around him. Every Gregory Crewdson‘s photo is like a shot from Hollywood film. Regardless where the pic­ture is being shot, this pho­to­grapher places every ele­ment scru­pu­lously and enlight­ens it in a way, which seems most appro­pri­ate to him. No unplanned detail will hide from him; fur­ther­more, the work­ing on sev­eral sub­ject pho­tos takes longer than six weeks.
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Pincycling the memories

Wayne Martin Berger, ‘Third Eye’ Pinhole Camera (photo: boy​of​blue​.com)

Written by Lorna Barnshaw

Don’t have the heart to throw out that pile of ‘memor­ies’, that ‘junk’ build­ing up in the corner…?

You have heard of upcyc­ling no doubt, trans­form­ing the old into the new and innov­at­ive. Well how about ‘pin­cyc­ling’ (I thought it deserved a name)? Transform these unused items and memor­ies into a memory cap­tur­ing machine, the cam­era, the pin­hole cam­era. Simple.

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Creativity Kiosk: Interview with Laura Guokė

Hi, it’s great to get to know bet­ter. We noticed that you mostly work with the graph­ics’ tech­nique. How did you dis­cover this tech­nique? Why is it the one you chose? Did you try or are you try­ing out other techniques?

I would link my choice of graph­ics’ tech­nique with the fact that I stud­ied in Vilnius’ Art Academy and in Šiauliai University because I fin­ished this dis­cip­line recently. It’s hard to say what inspired me to choose graph­ics seven years ago. It might have been the pieces that I saw and that I per­ceived in my own way and pro­fess­ors, who organ­ized the intro­duc­tion courses… Even though I never was and never wanted to be an example graph­ics’ stu­dent, tech­nique will always be only tech­nique. Technique that was avail­able and mastered at that time and which helps to cre­ate and cre­ates a space for artistic (self-​) expression.

At the moment, all objects that I cre­ate are always chan­ging. Maybe there is less graph­ics left and more pho­to­graphy, sculp­tural objects, sound/​image exper­i­ments appear (by using vari­ous mater­i­als). The most import­ant object of expres­sion in my art is the human body. However, I don’t want to for­get graph­ics or draw­ing completely.

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METAMORPHOSIS: CONTEMPORARY CONVERSATIONS AT THE NATIONAL GALLERY

Written by Nathan Gotlib

London, 24th July — So I had read about this exhib­i­tion in the news­pa­pers and I happened to be in town to go and see the BP Portrait Awards 2012 (the show I try and go to every year, exquis­ite dis­play of skill and draughts­man­ship with an ever-​increasing lack of con­tent and concept). As the National Gallery is lit­er­ally just around the corner, I thought I might as well have a look.

The exhib­i­tion fea­tures work by three con­tem­por­ary artists: Mark Wallinger, Chris Ofili and Conrad Shawcross. All the work has been inspired by three paint­ings by Titian. The pin­nacle of the work was the bal­let per­form­ance at the Royal Opera House, a pro­ject all the artists worked on together with the Royal Ballet in response to Titan’s work.

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HENRIK VIBSKOVMAKING ART FASHIONABLE

Photo from the book “Henrik Vibskov”

Written by Barbara Mal

I’ve been doing music only prob­ably for 14 years or some­thing and I was like: “Hey, I need to do some­thing. I need some more” – Henrik Vibskov unveiled with a petite smirk in his inter­view. Henrik Vibskov grew up in the middle of the coun­tryside of Jutland, Denmark. He gradu­ated from Central Saint Martins College of Art and Design in London, and now engages in visual art, music and fash­ion from his base in Copenhagen. He is not just a fash­ion designer and crown­ing him with no more than a single cor­onet would prob­ably be a vast under­es­tim­a­tion. Multi-​talented indi­vidual that is the avant-​gardist of the new gen­er­a­tion actu­ally fash­ions the art itself.

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