Tuesday, May 29, 2007

Entr’ acte

as part of Athens International Art Fair, Art Athina 2007

The Athens International Art Fair, Art Athina 2007, opens today (preview) and runs till the 3rd of June. “Entr’ acte”, curated by George Drivas and Inspired by Rene Claire’s film of the same name, is a tribute to the roots of the cinematic and to one of the first times in the history of the cinema, when the fine arts and the film world find themselves together.
Entr’acte” attempts to reinvigorate the discourse of what happens when artists challenge the moving image.
Entr’ acte” attempts to symbolize the close relationship between art and cinema, video art and the cinematic, between narration and experiment in the moving image production. It tends to represent a steadily growing international inclination in bringing together the overlapping interests that exist between film and art.
Entr’acte” proposes itself as a work of art, as an act between the acts and as an audiovisual experiment per se.

still from Donkey Harvest 11 min, S8, 2005 by Allan Levasseur Brown CA

Participating artists:
Helene Abram / Allan Levasseur Brown / Jacob Cartwright / John Davis / George Drivas / Trevor Fife / Nick Jordan / Tassos Langis / Kenji Ouellet /
Provmyza (Galina Myznikova, Sergey Provorov) / Andre Werner

Several of these artists have been selected from Directors Lounge and I will post some of the films so if you can´t make it to Athen you can still enjoy them in here.

In Donkey Harvest by Allan Levasseur Brown we meet a factory worker who loses his job. On his return home to his family, he embarks on a surreal journey where he is confronted with an environment at odds with his social reality.

to enjoy this dark gem just

see more videos on Directors Lounge television

The Real Story of the Superheroes III • Spiderman in Asia

This heroic act, captured by Sam Lim, served as the blueprint for the scene in Spiderman 2 where Spiderman try to stop the moving train and then his mask falls down.

more Real Stories of the Superheroes

thanks, sadistic girl

Monday, May 28, 2007

Stop painting!

Jorg Immendorff, Solo, 1988, Oil on Canvas, 200 x 150cm

In Solo, Immendorff places himself not in a theatre but outside in a sprawling cityscape. The artist sits at his usual Café Deutschland table, now positioned throne-like upon a scene of a reunited Germany, which is suddenly thriving with everyday life.

Germany on Monday lost one of its most famous artists when Jörg Immendorff, 61, died at his home in Düsseldorf. He lost a long battle with the fatal neurodegenerative disorder known as Lou Gehrig's disease. The disease had progressed to such an extent in recent months that Immendorff could no longer move his arms and legs.

Jörg Immendorff (born June 14, 1945 in Bleckede near Lüneburg, died May 28, 2007 in Düsseldorf) was one of the best known contemporary German painters; he was also a sculptor, stage designer and art professor.
Since the 1970s, he worked closely with the painter A.R. Penck from Dresden (in East Germany). In his most recent work, a "painter monkey" often appeared, as an ironic commentary on the artist's business. He named one of his first acclaimed works "Hört auf zu malen!" ("Stop painting!")
Jorg Immendorff's most famous accomplishment is his Café Deutschland series, begun in 1977 and continued through the 1980's. His imaginary nightclub sits on the east-west border, an independent territory where the burlesque theatre of cold-war politics, national identity, and battle of artistic legacy is played out night after night in all its subterfuge and drama. This series of work takes its initial architecture from Renato Guttoso's Café Greco, but in painting after painting the ‘camera angle' shifts, the furniture is rearranged, and the action is captured in contorted perspective of the not-so-innocent bystander.
Spanning three decades of immense political change in his native Germany, Jorg Immendorff's work took a turn from the political to the personal in the late eighties. His many self-portraits depict a lonely creator, whose role as cultural antenna has been rendered suddenly obsolete.
On May 27, 2007, at age 61, he finally succombed to the disease he had so forcefully fought against for nearly a decade. His main reason for death was a sudden heart failure at the dawn of May 28.
more here and here (german)

Sunday, May 27, 2007

Three Dialogues

Horizon group show in Bloomberg headquarters, Art in General, New York, USA

"The American deserts denote the emptiness, the radical nudity that is the backgrounds to every human institution. At the same time, they designate human institutions as a metaphor of that emptiness and the work of man as the continuity of the desert, culture as a mirage and as the perpetuity of the simulacrum."
Jean Baudrillard, America, 1986

Three Dialogues is made available through cell phone-based interactive voice response (IVR) technology: using a cell phone or even Skype, anyone in the world can call a specific number (1-212-617-4040) and listen to one of the three audio recordings.
The fact that the piece can be accessed from anywhere in the world is ironical since the exhibit was originally aimed at the 3000 employees of Bloomberg: ...considering how difficult it is to enter the building because of security, I'd rather do a work that can be accessed from outside.
Eric Van Hove

Referring to Three Dialogues, a text originally published in Transition 49 magazine in 1949 which represents a short transcription of a conversation between Samuel Beckett and Georges Duthuit about the nature of contemporary art, the piece partly ponders on Bloomberg's statement as found in the catalogue of the exhibit "We believe that communication is our most powerful tool". While Beckett's Three Dialogues were refereeing to the work of Pierre Tal-Coat, André Masson and Bram van Velde, this specific intervention refers to the work of Stephan Apicella-Hitchcock, Samuel Beckett and Eric Van Hove; it simultaneously examines the Conference room as a metaphor of the uninhabited.

"(...) The expression that there is nothing to express, nothing with which to express, nothing from which to express, no power to express, no desire to express, together with the obligation to express." -- Samuel Beckett, Proust and Three Dialogues with Georges Duthuit, Calder and Boyars Press, 1965.

Communication as a named and unified discipline has a history of contestation that goes back to the Socratic dialogues, in many ways making it the first and most contestatory of all early sciences and philosophies. Upon entering Bloomberg's New York offices, a mix of Georges Orwell's 1984 and Star Trek's Enterprise, I quickly saw these proleptical glass meeting rooms as the poignant architectural expression of both the impossibility and the willingness for exchange. I therefore decided to hosts meetings where a number of people would come together for the purpose of discussing a (loosely) predetermined topic. While in the corporate world the aim of a meeting seems definite and the conversation focused on a precise point, in Three Dialogues I let my guests wander about until that point emerge, and vanish.

The titles of each of the three dialogues are:
1 - Dialogue expressing what is to be expressed and with what (dial extension #2)
2 - Dialogue expressing the power to express and from where (dial extension #3)
3 - Dialogue expressing no desire to express along with the obligation to do so (dial extension #4)

Three Dialogues is made available through cell phone-based interactive voice response (IVR) technology: using a cell phone or even Skype, anyone in the world can call a specific number (1-212-617-4040) and listen to one of the three audio recordings. The fact that the piece can be accessed from anywhere in the world is ironical since the exhibit was originally aimed at the 3000 employees of Bloomberg: while western mass communication tends to monitor the whole world from that office in order to help barometer the Western economy and raise capital for the richs, any other person outside could eavesdrop back on recordings made inside the secrecy of the building's meeting rooms. Furthermore it seemed to me that, considering how difficult it is to enter the building because of security, I'd rather do a work that can be accessed from outside.

Guest participants for Three Dialogues includes: Lex Fenwick (Bloomberg CEO), Koan Jeff Baysa, Ahmad Nadalian, Michel Assenmaker, Jan Van Woensel, Stephan Apicella-Hitchcock, Jean-Christophe Lanquetin, Sue Williamson, David Gensler, Joy Episalla and Adam Nankervis.

Saturday, May 26, 2007

the all-electric Pink Bunny Slippers

I want some

Greg Solberg (a Firmware Engineer at the incredibly cool Tesla Motors) and significant other Lisa decided to build these all-electric pink bunny slippers just to see if they could do it. They can do impressive 15 mph, which is pretty good for pink bunny slippers.

"You might be wondering what pink bunny slippers have to do with Tesla Motors. Tesla Motors has set out to change people’s perceptions of electric vehicles as slow and ugly. Well, my slippers are faster than most, and not so ugly, I hope. I’d like to go on some more about how the Tesla Roadster will change the world, but a Senior Director of Engineering is now telling me that I need to write a blog about my electric muffins."

via via

Thursday, May 24, 2007

Tami Seinfeld

With great pleasure do we announce that the beautiful lady pictured here joined Team Directors Lounge on Tuesday as a cognitive mentor. Not much bigger than a Katz she will become a great asset for the future of the whole cinematic universe.

The Lost Filmstrips of Father Carlos

Good Lord - I've heard about this - cat juggling! Stop! Stop! Stop it! Stop it! Stop it! Good. Father, could there be a God that would let this happen?
Everybody will remember these famous words by Navin R. Johnson when he first saw the horrible truth, brought to him by Father Carlos.
Now even more evil unveils, unthinkable horrors beyond understanding, with the discovery of the lost filmstrips of Father Carlos.
These squirmy acts against nature are so grim that we hide them after the jump to protect the faint-hearted.

kudos to Dan for this unholy discovery

Wednesday, May 23, 2007

from the fat corner to the revolution

Thomas Kilpper
von der fettecke zur revolution

Thomas Kilpper has lived in Dusseldorf from 1979 to 1992.
1979 he came from Nurnberg to the Dusseldorf academy into the class of Alfonso Hueppi. With this change he hoped to work in a more open minded artistic climate. But the then political realities: new nuclear powerstations, military coup in Turkey, Apartheid… and particularly the acute danger of a nuclear war in Europe made Kilpper to focus more and more to the direct political engagement and resistance.

For his exhibition 'from the fat corner to the revolution' in the Dusseldorf Kunstraum he realized a 300sqm installation, commemorating and recuring the developments of these years. He takes material, that he held in his hands for more than eight years when he made his livings with clearing out and removals.

Now Kilpper has used hundreds of old furnitures, deconstructed, rebuilt, beaten apart, nailed together and than reassembled to a metaphorical maze-like installation. Here speaks as well sublimated fury against the existing conditions as the realization of an aesthetical change, here speaks a grumpy-ironical outline of social interior design as anti-IKEA.

Opening: Thursday, May 24 from 7pm

expand for german text and location details

Der Berliner Künstler Thomas Kilpper lebte von 1979 bis 1992 in Düsseldorf.
1979 kam er von Nürnberg an die Düsseldorfer Akademie in die Hueppi-Klasse. Mit diesem Wechsel war die Hoffnung auf ein Arbeiten in einem aufgeschlosseneren künstlerischen Klima verbunden. Die damals aktuellen politischen Realitäten: Atomkraftwerke, WAA, Militärputsch Türkei, Apartheid… und insbesondere die akuter werdene Möglichkeit und Gefahr eines atomaren Krieges in Europa veranlassten Kilpper allerdings bald, sich zunehmend der direkten politischen Auseinandersetzung zuzuwenden.

Für seine Ausstellung "von der fettecke zur revolution" im Kunstraum Düsseldorf fertigte der Künstler eine raumgreifende Installation, in der er die Entwicklung dieser Jahre erinnert und fragmentarisch nachzeichnet. Dabei greift er zurück auf Material, das über acht Jahre durch seine Hände ging, als er seinen Lebensunterhalt mit Entrümpelungen und Umzügen verdiente.

Jetzt hat Kilpper hunderte alter Sperrmüll-Möbel verarbeitet, dekonstruiert, zusammenbaut, auseinandergeschlagen, erneut vernagelt und dann angeordnet zu einem methaphorischen Labyrinth. Hier äußert sich sowohl sublimierte Wut gegen die herrschenden Verhältnisse als auch die Realisierung eines ästhetischen Umbruchs, hier artikuliert sich ein muffelig-ironischer Entwurf sozialer Innenarchitektur als anti-IKEA.

Thomas Kilpper
von der fettecke zur revolution | from the fat corner to the revolution

Eröffnung: Donnerstag, 24.5.2007, ab 19 Uhr | Opening: Thursday, May 24 from 7pm

Ausstellung vom 25.5. bis 24.6.2007 | Exhibition: May 25 to June 24, 2007

Öffnungszeiten: | open:
Do/Fr 17 bis 22 Uhr, Sa/So 14 bis 18 Uhr | Thu/Fr 5pm to 10pm, Sa/Sun 2pm to 6pm

Kunstraum Düsseldorf

Himmelgeister Straße 107E,
Eingang Ulenbergstraße
40200 Düsseldorf
Tel. 0049-(0)211-8924193 oder | or 0049-(0)211-330237

Bahn | Tram: 706, 723
Bus: 827, 835, 836

Tuesday, May 22, 2007

Cocoon and other Swan Songs

Felice Naomi Wonnenberg at barbur

Felice Naomi Wonnenberg's video work is a unique, sometimes surrealist collage inspired by Jewish thought and political and gender issues. Her work combines in an intriguing manner Middle-Eastern reality with European cinematographic aesthetics, writes Amitai Mendelsohn, curator of the Department of Israel Art at The Israel Museum Jerusalem. The screening at Barbur gallery offers an overview of her works ranging from experimental films shot on 16 mm (a format used by the surrealists and Dadaists as well as in WW2) to experimental documentaries on digital video and video performances and installations. Included are several works that had been screened during Directors Lounge 2005.

Video works by Felice Naomi Wonnenberg will be screened on Thursday May 25 at 8:30 pm at barbur Gallery Jerusalem

and there´s a nice party afterwards

expand for location details

BARBUR Gallery Jerusalem Thursday, 24 May 07 8:30 pm
Shirizli Street 6, Nachlaot (no entrance fee)
and a party at Naomi's house afterwards
please help out with drinks
for further INFORMATION please contact 0526203216

Monday, May 21, 2007

Saturday, May 19, 2007

sending out an SOS

"Message in a Bottle," Joseph Borzotta, curated by Chris Burkhardt,
Feb. 5-Mar. 5, 2005, at Cuchifritos, 120 Essex Street, New York, N.Y. 10002


Friday, May 18, 2007

Stadtrandzone Mitte — Center of Urban Periphery

• Berlin Premiere Sat. 19th May 07, 9 pm Z-Bar, Berlin

still from STADTRANDZONE MITTE, 16 mm, 42 min, 2005

How should public space be defined, in our times? - this question has been the point of departure for Klaus W. Eisenlohr's project in Hannover. The resulting film by the Berlin filmmaker and artist takes the viewer on a visual trip through the larger urban area of Hannover and shows portraits of places of various urban qualities.
This visual and spatial exploration is being complemented with investigations of "place-making": Public interventions by artists, scenes of everyday public life played by youths, and conversations with local city planers converge in a multi-facetted reflection on public space. In cinematography and visual montage Klaus W. Eisenlohr has accomplish his own personal film language, based on experimental documentary and avant-garde film. Thus, the filmmaker has conceived a complex film essay about everyday urban spaces in the modern European city. more

Tomorrow, Sat. 19th May 07, 9 pm Z-Bar, Bergstr. 2 U Rosenthaler Platz

Admission 4, reduced 3 Euro

Police Officer with her gun

Police Officer with her gun
Lana Slezic, 2005, Giclee, h: 16 x w: 20 in / h: 40.6 x w: 50.8 cm

Thursday, May 17, 2007

Tuesday, May 15, 2007

G 3

Florian Langmaack, G 3, 2005

killing me softly

Miguel Monroy, Pistola, in "killingmesoftly," curated by Acopilco Workshop,
July 22-Sep. 2, 2005, at Galeria Ramis Barquet, 532 West 24th Street, New York, N.Y. 10011

Monday, May 14, 2007

Thorsten Brinkmann `portraits of a serialsammler´

Thorsten Brinkmann´s photographic self-portraits turn a classic genre upside down. In general, the work of artist Thorsten Brinkmann is initiated by the things he finds: objects discarded by the civilisation, which he finds in bulk waste collections in the street, but also ordinary things like bottles, flower pots or shelves. Even his own body becomes an objet trouvè by the artist. Brinkmann is a juggler who uses different worldly objects on an equal level, introducing them into art in the manner of Duchamps. He seamlessly moves between objet trouvé, collage, photography, sculpture and painting. If we recall his actions which immediately precede the photos from the series “Portraits of a Serailsammler” (Finding, building, dressing, pulling something over his head, posing), the importance of the performance part is equally an important characteristic of his work.

taken from the press release of tisch zi bäng at kunstagenten

Saturday, May 12, 2007

Urban Research at Urban Explorers

Dordrecht - Rotterdam
12 + 13 May 2007

Thanks to Katja Diallo/ Noordkaap, a selection of Urban Research, one of the major programs of Directors Lounge, can be presented during the Urban Explorer festival in the project rooms of Noordkaap, Dordrecht, NL

NOORDKAAP // U.E. // PROGRAMMA 11 T/M 13 MEI // FILM Een selectie uit het internationale filmfestival Urban Research, ondersteund door de Directors Lounge Berlin. Curator Klaus W. Eisenlohr

click pics for more


full program

Ducky in distress

click to enlarge

"This rare poster is the only one we know of and we believe of Australian issue. Text at top reads "And Me With Out A Pro.! Be Sly VD Is High." Great art depicts Donald Duck in an Australian soldier's uniform while behind him is an attractive woman in a tight slinky dress lying in wait behind a large plant. Donald has an exasperated look on his face as he is without a prophylactic. At the lower right is insignia "4MCD," we believe to be for the Fourth Medical Corps Division or 4th Marine Corps Division. Art is signed "Cyril Jones." From the Deak Stagemyer Collection."
on auction here (estimate $400 to $700)


Thursday, May 10, 2007


click da Katz and gizoogle mah Kizzy

kudos to Missy Violet Bizzy, da pro blogga, poser playa n femmebot at tinynizzles.

Wednesday, May 09, 2007

Don´t play with fire

The Curse Of The Crying Boy

The Crying Boy is a mass-produced print of a painting by Bragolin that was popular in Britain in the 1980s.

On September 4, 1985, the British tabloid newspaper The Sun reported that a fireman from Yorkshire was claiming that undamaged copies of the painting were frequently found amidst the ruins of burned houses. He stated that no firefighter would allow a copy of the painting into his own house. Over the next few months, The Sun and other tabloids ran several articles on house fires suffered by people who had owned the painting. (Since house fires are by no means uncommon, and since a not insignificant portion of the British population owned a copy of The Crying Boy, it was to be expected that the two would often coincide.)

By the end of November, belief in the painting's curse was widespread enough that The Sun was organising mass bonfires of the paintings, sent in by readers.

Reason enough for any rational thinking being to give the Crying Boy a wide berth.
But not for our happy famous friends who are always willing to take a risk.
Frivolous as they are they decided to make an installation involving the 'crying boy' phenomena. Even more careless they decided to burn the bewitched painting.

The rest of the story goes as follows:

“Bragolin Files” installation, Happy Famous Artists

in their own words:
As mentioned earlier, we (more specifically: JEFF! the bastard knew that we were driving with MY car, so we can allow ourselves a risk ;-))
were bringing to your party one of our crying boy paintings to ritually burn it. And because we had hardly any place left in the car, being with 5 people, we were holding the bloody painting on our laps while driving.
Now the spooky part comes: we've recently competed an installation involving the 'crying boy' phenomena. These paintings, produced by certain giovanni bragolin, are believed to be cursed (bragolin allegedly signed a pact with a devil)& people who have them in their possession will suffer some form of material damage. Most common is that their house gets burnt. Car accident is less frequent, but hey - we were asking for it!
Bringing a bewitched painting to burn it, that's PLAYING WITH THE DEVIL :P
Unfortunately the snapshots from the accident itself are taken with a phone camera & of a very poor quality (this will teach u to bring along a proper camera when the REAL action’s happening, teun ;-)),
but if u look really carefully, u can see the bastard of a crying boy lying behind the rear window of the car!!!

And further below u can read how we were teasing our luck & got our fingers (& my car ;-)) burnt!
Next time we'll bring a crying girl along :P

The Curse of the Crying Boy Paintings
Bruno Amadio, popularly known as Bragolin, and also known as Franchot Seville, Giovanni Bragolin, and G. Bragolin, is the supposed creator of a group of paintings known as Crying Boys. The paintings, which feature a variety of tearful children looking morosely straight ahead, are sometimes believed, in the fashion of an urban legend, to be cursed. Often they are the target of the popular myth that a particular picture will cause one’s house to burn down.
The Crying Boy is a mass-produced print of a painting by Bragolin that was popular in Britain in the 1980s and exists in several forms. The subject is a boy ranging in age from 4 to 10 years old. His clothing and the painting style differ depending on what period the artist has set him in.
The legend around this painting is as grim as it gets. The stories began around 1985, when several mysterious fires occurred all around England. When the debris was sifted through the only item that remained un-charred was a painting of a little boy with a tear rolling his cheek in every fire. Could this all be coincidence?
Whether real or not a Yorkshire fireman was so upset that he talked with the “Sun” newspaper in England. They ran his story about how everything in the home was consumed by fire except for a painting of a crying boy. There were at that time more than one of these paintings around and each seemed to have the same effect. The home and all contents would be totally destroyed but the painting of the little crying boy would not show any sign at all of going through a fire.
Handle with Care: It Might Help to Get a Crying Girl
Tales explaining The Curse of The Crying Boy began to spring up with alacrity. Some said the painter had mistreated the boy who was an orphan. Others said the boy set the fires because his parents had died in a fire and he was either acting out the trauma or had been responsible for the fire that left him orphaned to begin with. Psychics claimed the boy’s spirit was trapped in the painting. One woman said there would be no trouble if one kept the picture next to a painting of a Crying Girl. A male stripper called Big Doofer, whose real name was Adrian Martin, claimed the curse struck him when he suffered facial burns during his fire eating act. He blamed it on the painting because he said he had made the mistake of making fun of his wife’s Crying Boy not too long before appearing onstage.
By October of 1985, the Sun advertised the idea of having a huge bonfire to get rid of all the Crying Boy paintings that its readers wished off their premises. The October 31st edition of The Sun reported that thousands of Crying Boys were burned under the supervision of the fire brigade. Just speculating but they must have put them face down and while that should have been the end of it, it wasn’t by a long stretch.
After all, that didn’t get rid of all the Crying Boys. Just the ones that had been handed over. The Sun continued to report on sporadic incidents which evidently came from those who had not relinquished their paintings. The proportions of the legend began to mutate and it was even reported that the Crying Boy would bring good luck to those who deserved it. One gentleman who claimed to have rescued such a painting from the dustbin, reported that he soon began to win money at various gambling pastimes.
There have been reports of the crying boy painting being found in charred homes untouched since 1985 and as recent as 1988.
Pact with the Devil
It has been claimed that Giovanni Bragolin painted 28 paintings of various children crying all of which represent DEAD children. If you look closely at the pictures you can in fact spot some subliminal evil, for instance burn marks on their faces, also the pupils are clearly dilated despite the fact that light is shining towards the child.
It is reported that he since regretted his actions and in the late 80’s he appeared in the biggest TV channel in Brazil, Rede Globo, where he told everyone who has copies or originals to destroy them because he had made a evil pact in order to sell his paintings. It is said that the paintings bring extreme misfortune and disgrace to the owners, however, it is believed that the curse can be counteracted by hanging a picture of a crying girl alongside it. So what is it about these portraits? Are they possessed by the spirit of a dead child? Is the devil himself playing with fire? Or was 4 September 1985 a slow news day for The Sun?
Let’s look at the facts! It’s Britain in the mid 80’s and artwork for the first time is being mass produced. What sort of Brit would buy a mass produced portrait of a young child crying to hang in their home? Even by the 80’s standards it would have to be someone with little class or taste. Perhaps the type that would also regularly use a chip pan and smoke 30 fags a day yet see smoke alarms as something of an extravagance? And it is just a copy of a painting after all, paper, ink and a dodgy frame. No live bits, not even any electrical bits and surely the devil would have better things to do with his time than pop over to the North West of England and destroy a few homes just because some Spanish painter urged him to help to sell his paintings, that’d be a nuts trick! Whatever the reason, this is more than an urban legend, it is fact that these house fires happened and it is fact that the paintings would remain wholly unharmed. It would be one thing if it were just Sun readers amongst the flurry of people quick to report its evil but the story of The Crying Boy and its curse is a worldwide phenomenon.

Tuesday, May 08, 2007

Angelina & Brad – Case Study #13

Angelina & Brad Case Study #13, Image 10, 2005 by Steven Klein

oversized gelatin silver print
signed in ink, typed title, date and number '1/5' on certificate of authenticity on reverse of mount
40 x 47¾in. (101.7 x 121.3cm.)

This print is number one from the sold-out edition of 5.

Steven Klein's 60-page feature 'Domestic Bliss' for W magazine in July 2005 depicted Brad Pitt and Angelina Jolie in a far-from-perfect version of family life, referencing both the actors' film lives and more subversively, the public's desperation to see them as a couple.

get it at Christie´s, London, King Street, May 31, 2007
Lot Number: 0120, Estimate: 6,000 - 8,000 British pounds

Church of the moment

The Penguin church


Sunday, May 06, 2007

Desire Despair

Pictures from the Czech Republic by Marni Horwitz

Marni Horwitz first became interested in photography when she was seventeen, after seeing Nan Goldin’s solo exhibition at The Whitney Museum. She was moved by the personal nature of Goldin’s work as well as her use of rich color. Horwitz started taking pictures of the world most immediately at hand --her family--a subject that continues to be of great artistic importance to her.

After college she lived in the Czech Republic for two years where she became enamored with the melancholy beauty of the land and the people, a melancholy that she also experienced as an outsider. This period led to a book entitled Desire Despair; Pictures from the Czech Republic and a solo show at A.I.R. Gallery in February 2006. Her work continues to document her personal life, while discussing the ambivalence we all experience in our relationships with our families, loved ones, and surroundings.

Desire Despair: Pictures from the Czech Republic

also don´t miss Fathers and Daughters


via indie