Tag Archives: Interview Magazine

Carlo Van de Roer

I once had my aura read and having my energy analyzed was an insightful experience. The color of those energies is what Carlo Van de Roer looks at when making his unique and engaging aura portraits. Carlo is producing a book of these intriguing portraits and has created a Kickstarter campaign to bring attention and monies to the projectThe portrait of Miranda July, below, is one of my favorites.
Miranda July
Miranda July
Carlo was born in
Wellington, New Zealand. He received a BFA from Victoria University before
working and exhibiting internationally in the United States, New Zealand, the
United Kingdom and France. Carlo has received the ADC Young Guns Award, the APA
Silver to Pixels Award for Fine Art and the PDN Pix Award. He was named a Top
50 Photographer by Photolucida and received the Honorable Mention for the BMW
Paris Photo Prize in 2010. His work has been featured in the New York Times,
The New Yorker, INTERVIEW magazine, Vogue Italia, Wired Magazine and
NPR. Work from The Portrait Machine Project has been exhibited
at M+B Gallery in LA, Suite Gallery in NZ, Festival d’Hyères and Carrousel du
Louvre in France.

His Kickstarter campaign is featured in the video below. Consider helping him reach his goals by contributing here.

The Portrait Machine Project Book is a collection of polaroid
aura portraits of subjects ranging from my grandmother to Miranda July,
Terence Koh and James Frey. The 9.75 x12 inch, 96 page, full color,
hardcover book also includes the camera generated diagrams/descriptions
that accompany each polaroid.

This project started when I was making polaroid portraits here in NY. I was interested in the idea that a camera could offer an insight into the subject’s character or my relationship with them, especially if its a portrait of someone you know. The relationship between the camera, photographer, subject and viewer was something I wanted to explore. 
I started using the polaroid aura camera because of what it promised to do, it was invented in an attempt to record what a psychic might see. This seemed like a familiar idea to me — that a camera could provide an otherwise unseen insight.
The tension, or harmony, between the portraits and the people I was photographing was something I wanted to make accessible to you as the viewer, so I started including people that might be familiar.
The camera is built around an instant land camera, it gets attached directly to the subject by sensors which read biofeedback, that’s converted into information about the them and is depicted as color in the polaroid. The camera also generates a printed diagram and description which includes information about their character and how they are seen by others.

Example of how the camera generate the color seen in the image above.

Photographer #450: Sølve Sundsbø

Sølve Sundsbø, 1970, Norway, is a fashion photographer and director based in London since 1995 where he studied at the London College of Printing. While studying he assisted world renowned photographer Nick Knight, who became an important mentor to him. Today Sølve is one of the leading photographers in his genre. Among his clients are big names as Yves Saint Laurent, Louis Vuitton, Cartier and Gucci. He created editorials for the Italian Vogue, i-D and Interview. His series 14 Actors Acting, made for The New York Times, received an Emmy Award in 2011 for New Approaches to News & Documentary Programming: Arts, Lifestyle and Culture. Solve has an experimental approach to his photography, using a vast amount of techniques and styles, creating larger-than-life, sophisticated and innovative images. He is not afraid to tread uncommon paths. For an YSL fragrance campaign he convinced them to create and use an image of a full-frontal male nude, causing some controversy. The following images come from Interview Magazine: Scarlett Johansson, Vogue Japan: The Virgin Spring and W Magazine: The Everchanging Face of Beauty.

Website: www.artandcommerce.com/ss & www.solvesundsbo.info

Kate Orne

I first became aware of Kate Orne’s photographs when she won the Berenice Abbott Prize for her work with sex trade workers in Pakistan. The series, Brothels and Fundamentalism, captured poignant and powerful images of women trapped in a lifestyle of abuse and fear was deeply felt and appreciated.

Kate is a unique voice in the photography world. She is an editorial and fashion photographer (see image below), a documentary photographer, a fine art photographer, and a humanitarian. In 2002, she created MyFarAwayFamily.com, an organization providing Afghan refugee children with education and their widowed mothers with micro loans and guidance to start their own businesses. Provided food distributions in Kabul and Peshawar among refugees. And she’s one hell of a nice person.

Kate was born in Sweden, and now lives in New York City. One of her first jobs was as an editor for Interview Magazine, but by the mid 1990’s Kate was busy working in all areas of the photo landscape. And within that landscape, she has created a new body of fine art work that is just about that: landscape, but landscape as meditation and inspiration.

The Landscape With: As far back as I can remember, I have been drawn to the wide-open landscape: a canvas of land, water or sky where I feel expansion within and around me. In that setting, my mind is free.

Over the years, I have frequently returned to the landscape, on assignment and for personal work. I’m rarely shooting in a place where there are people – I don’t want them interrupting the pull of natural elements. As I look through the viewfinder, I wait. A shadow, a shape, or some interplay or tension between forms, sparks my curiosity, calling for attention. This is a starting point.

To me art is a form of meditation. In the time when we create, we travel inward. When I photograph, I want to include as much of what is there as possible—both what I can see and feel. My intuition guides the process – a secret language within me, which I regard as the most valuable measurement of honesty. This is what my heart sees.

The feelings that I experience are powerful and the image afterwards brings me back to them. It’s often during the edit, when I look closely at a photograph, that I see what in the landscape captured my attention.

I want it to be the same for the viewers, for them to feel free and have their minds and hearts expand when they rest their eyes on an image. This is why I prefer my work printed on a larger scale, creating a space that invites the viewer inside.

Oscars 2012: Great Performances

Each January, Los Angeles is effervescent with anticipation, as the world’s biggest stars gather to participate in a flurry of parties, dinners and events in the walk-up to the Golden Globes, marking the beginning of the awards season. This year was no exception.

TIME’s annual Oscars portfolio showcases each year’s best performers through a portfolio of striking portraits. Tears, giggles, pranks and emotions ran high, and loads of laughter pealed through the studio during this year’s shoot, which resulted in a series of images and short films photographed and directed by Sebastian Kim. It was our most ambitious Oscars shoot yet. We had just three days to photograph and film 12 world-class actors during their busiest time of the year.

George Clooney arrived early on set, but it didn’t take long for the actor to settle in and begin joking around and planning pranks with Michael Fassbender, who had recently been photographed by Kim for the February issue of Interview magazine. This previous experience of working together made for a great rapport between them. And it wasn’t the only happy reunion on set: Viola Davis and Octavia Spencer happily embraced upon seeing each other on our set, giving us a glimpse of the fun these two had while working together on The Help. Later, Adepero Oduye was brought to tears when introduced by Joel Stein, who was on hand to interview the actors, to Davis, one of her greatest heroes. “It was so unbelievably Hollywood and yet really real,” Stein says.

Kim says that the project was the most star-studded he’s photographed so far. “I was quite excited photographing Meryl Streep,” he says, noting that his girlfriend is a big fan of the actress’s, “so naturally I was quite nervous when I met her. Being nervous on set is not a good thing as it impedes your concentration, but I just kept thinking, ‘My gosh…I better a get a good shot of her and make my girlfriend happy!’”

But Kim needn’t have been nervous. Streep was running a bit late, having arrived from a previous shoot with MGM studios, where she was taking part in a project to photograph the greatest living actors of our time. She was immediately forgiven—and how could she not be? Streep is kind and gracious, possesses a rare elegance and professionalism that made the photo shoot feel like anything but work. In fact, this set the tone for all of our actors’portraits, which also included sittings with Brad Pitt, Jessica Chastain, Christopher Plummer, Michelle Williams, Rooney Mara, Jean Dujardin, as well as the adorable Uggie, the dog in The Artist.

It’s a rare pleasure to watch actors of this caliber play for the camera. Instead of characters, they play themselves, with a focus and passion that can only come from years of experience on set.

The performers’interviews with Joel Stein can be viewed here.

AO On Site – Brooklyn, New York: Joe Bradley ‘Drawings’ opening at The Journal Gallery, show runs through March 27, 2011

February 22nd opening and installation view at The Journal Gallery. All photos by Daniel Terna of Art Observed unless otherwise noted

Immediately following his two simultaneous exhibitions at CANADA gallery and Gavin Brown Enterprise, the all-pervasive Joe Bradley crops up once again with a solo exhibition at The Journal Gallery. This exhibition of thirteen small drawings quietly accompanies his large-scale paintings on view at Gavin Brown and CANADA earlier this month, and provides a subtle glimpse at the artistic process behind Bradley’s larger work. Ranging from the purely abstract to the purely absurd, the drawings in this exhibition feature suggestive profiles, curious lines, and pseudo-juvenile pictography that is characteristic of Bradley’s oeuvre.

Joe Bradley, Untitled (2010).

More text and images after the jump…

Materials such as receipts, envelopes, and scratch paper serve as the ground for Bradley’s heavy handed, unapologetic mark-making. And while Bradley’s work has been criticized as everything between “slacker art” to “durrrr,” there’s no denying his obvious appeal to collectors, curators, and gallerists. Not only did both of his previous exhibitions completely sell out, but Joe Bradley also has reportedly experienced a marked increase in sales over the past five years.

Joe Bradley, via Jack Siegel, Interview Magazine.

Bradley’s direct, childlike approach to configuration is apparent in each work in the exhibition. Lines converge and intersect to summon up varied visual interpretations, reminiscent of early surrealism or the cartoonish abstraction of Philip Guston and Carrol Dunham. Upon close investigation, one notices the nuance of the artists hand, and the points at which imagination and investigation collide.

Bradley’s career has been characterized by radical change. From his monochromatic, post-color field robot paintings at the 2008 Whitney Bienniale, to the primal brutality of his drawing-painting hybrids at Gavin Brown, Bradley seems to be driven by his minds eye more than his market success.

Via The Journal Gallery

-V. Campbell

Related Links:

Exhibition Page [The Journal Gallery]

Two Sides of Joe Bradley: Full Interview [Interview Magazine]

Artists profile [2008 Whitney Biennial]