Normally family photos brush over the tough stuff. Yet, Katrin Koenning’s ongoing series, Near, propels the intimacy of a family album into the corners of love, death and inconsequential moments. Koenning’s sharing of this trove and the trust within the scenes mark these images as exquisite.
Vincent Ganivet binds basic cinderblocks together in incredible arcs and twists. Using straps and wedges of wood, Ganivet intervenes with their clunky geometry to make startling and imposing structures.
Zhang Xiao’s photographs are steeped in the physicality of our interaction with the world. The people in his photos fluidly and intuitively react to situations and Xiao is similarly synched in as he reflexively shoots.
Carpentry meets a parrot meets bondage in Michael Meneghetti’s Rainbow Vixen. In a performance of fallible heroism, he strenuously clambers and shamelessly sprawls his feathered way through the dust, heat and tie-dyed crowds of the Rainbow Serpent Festival. With this act of stamina, concepts of masculinity and theatricality are stirred and shaken.
The cover of Louis Porter’s latest photographic book, Bad Driving, shows a road marker lying limply against the asphalt, in prostration for the bad driving that put it there. Fairground bumper cars have a satirical slant, as does this collection of dents and scrapes. With the click of Porter’s camera, a mangled sign take a bow and a fence curls up in defeat, as the flaws of crap drivers find sculptural expression.
Gaping red paint mouths of taxidermied animals glimmer in the dim light of an old office building gone wrong. The small bowlegged man who unlocked the museum joins me and motions to stroke furs hanging from the low ceiling. Between touching pelts, I look at dusty dioramas as he makes dramatic rifle shooting gestures at […]
There is both pride and humiliation in many acts, from doing the splits to posing for a passport photo. Unable to objectively see ourselves, we are reliant on our naive confidence to ‘bring it’. Yvonne Todd’s latest series, Seahorsel, continues to twist and trample the contradiction to ‘act natural’. With Seahorsel, Todd’s highly inspectable large format photographs bring a disarming clarity to acts like prancing with seaweed.
Editing Excerpt Magazine Issue 2 was like taking an eccentric tour around the world. We set out to see how different people respond to the same image and an amazing array of photos followed. These images are bound together in this special issue, designed by Excerpt’s brilliant Creative Director, Laura Gulbin. Issue 2 is online, free and out now.
Lee Walton looks low-key as he empties 27 cans of shaving cream into fluffy, collapsible mounds of foam around his normal looking neighborhood. The white foam seductively expands creating temporary landmarks along a two-mile radius from his home. A flimsier version of stone cairns, a more poetic gesture than scratching ‘I was here’. Walton makes […]
Most of the things we worry about don’t happen, it’s the things you aren’t expecting that turn up and smack you in the face. Benjamin Dewey is working on those with his Things Could Be Worse series. His illustrations sway between flip effronteries and epic messes, preparing us for troubled times when monsters stampede the village.