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Defne Kırmızı

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klammer
Tagged
contemporary art


12:04 am, by gelpisipisi10 notes

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07:31 pm, by gelpisipisi3 notes

06:27 pm, by gelpisipisi7 notes

12:57 am, by gelpisipisi7 notes

Michal Pudelka 

we children of the zoo

01:30 pm, by gelpisipisi2 notes

Robert Longo 

Men in the Cities (1979)

uçtu uçtu derken

12:41 pm, by gelpisipisi40 notes

Ruth Hiller

“My current body of work reflects my fascination with the parallels between microscopic and macroscopic elements. As I ponder the cosmos or explore deep within a living organism, I find the visual similarities astounding. Watching“The Powers of 10”,a 1977 film by Ray and Charles Eames, was a seminal moment for me in terms of the evolution of my unique way of seeing the world. It showcases the Eames’ passion of infinitesimal versus vast environment. The objects that I paint can be invisible to the naked eye, but perceptible by the human mind. I am continually interested in exploring the juxtaposition between what lies beneath, or out in space, and our perception of beauty and exquisiteness.The encaustic process combined with fluorescent pigments is a perfect medium for me to convey the amazing depth and color that is abundant in the micro and macro worlds. The excitement is the hidden, the unseen, the unknown—always existing, yet waiting to be discovered.”

03:09 pm, by gelpisipisi9 notes

Miranda Lehman / Insomnia Series 

‘galiba bir meteor düştü’sü

01:25 am, by gelpisipisi7 notes

Anna Gaskell crafts foreboding photographic tableaux of preadolescent girls that reference children’s games, literature, and psychology. She is interested in isolating dramatic moments from larger plots such as Lewis Carroll’s Alice in Wonderland, visible in two series: wonder (1996–97) and override (1997). In Gaskell’s style of “narrative photography,” of which Cindy Sherman is a pioneer, the image is carefully planned and staged; the scene presented is “artificial” in that it exists only to be photographed. While this may be similar to the process of filmmaking, there is an important difference. Gaskell’s photographs are not tied together by a linear thread; it is as though their events all take place simultaneously, in an ever-present. Each image’s “before” and “after” are lost, allowing possible interpretations to multiply

11:52 pm, by gelpisipisi38 notes