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Art Subject: Boy
Shepard Fairey "A Cracked Icon" David Bowie Screenprint Street Urban Obey Giant
Located in Draper, UT
This screen print, “A Cracked Icon,” is a reference to one of my favorite musicians, David Bowie, and his song “Cracked Actor.” I’m fascinated by how we process fragmentation and mut...
Category
2010s Contemporary Portrait Prints
Materials
Screen
La Comédie Humaine
Located in OPOLE, PL
Pablo Picasso (1881-1973) - La Comédie Humaine
Lithograph from 1954.
Dimensions of work: 35.5 x 26.5 cm
Publisher: Tériade, Paris.
The work is in Excellent condition.
Fast and s...
Category
1950s Modern Figurative Prints
Materials
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Leaf House
Located in Sante Fe, NM
Reviewing the photographs of Julie Blackmon, critic Leah Ollman of the Los Angeles Times wrote: “Each frame is an absorbing, meticulously orchestrated slice of ethnographic theater … that abounds with tender humor but also shrewdly subtle satire.”
Blackmon is a native of Springfield, MO, and her photographs are inspired by her experience of growing up the oldest of nine children—including five sisters—in what she calls “a generic American town in the middle of the U.S.”
In college, Blackmon was introduced to the work of artists Sally Mann, Diane Arbus, and Helen Levitt, and she describes herself as “obsessed” with their images. “When my three children were small,” she recalls, “we moved into an old house with a darkroom in the basement. Like any mother, I wanted to take pictures of my kids. But I didn’t want to be just the ‘mother photographer.’ I wanted my work to be more: more penetrating, more artful, more striking, more thoughtful, more a reflection of the times.
“Over the next few years, I progressed from making documentary black and white photographs of my life and the lives of my sisters to creating colorful, fictitious images that offered a more fantastical look at everyday life. My work became more conceptual, as I began to realize that I was not obligated to capture “reality” exactly, but that I could work more like a painter or a filmmaker, actively shaping the images I was creating. This realization—that fiction can often capture the truth more memorably than reality—was a major shift in how I saw the world around me, and it transformed my work.”
“It’s thrilling to see the most common aspects of everyday life as potential stories or themes for a photograph. It changes how you see things: suddenly, a Starbucks employee on a smoke break, or an outmoded beauty shop catering to an elderly clientele, can spark a memorable image. As Nora Ephron...
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2010s Contemporary Color Photography
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Archival Pigment
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