Gerhard Haderer (born 1951 in Leonding, Austria) is an Austrian cartoonist and caricaturist.
Haderer studied at a technical art school in Linz for four years from 1965, and then studied engraving in Stockholm Gerhard Haderer (born 1951 in Leonding, Austria) is an Austrian cartoonist and caricaturist.
He returned to Austria in 1971 and worked as an independent commercial artist and draughtsman. He developed his photo-realistic style working on advertising, illustrations, and even designing maps for the Salzburg tourist board.
In 1985, after a cancer operation, he abandoned his commercial career to become a freelance caricaturist and satirical illustrator. His first satirical works appeared in the upper-Austrian magazines “Watzmann”, “ORF-Ventil” and “Oberösterreichische Nachrichten”. He soon began to appear regularly in the Austrian weekly “Profil” to which he still contributes. His work then began to appear in newspapers and magazines in other German speaking countries. Since 1991 his work has appeared regularly in Germany’s “Stern” magazine as “Haderers Wochenschau” (“Haderers weekly news”).
From 1997 to 2000, and from 2008 he published his own monthlysatirical comics magazine called “Moff”. He has produced designs for severalsatirical puppet shows.
Honors: 2001: Deutscher Karikaturenpreis, Geflügelter Bleistift in Gold (German caricature prize, winged pencil in gold) 2008: Goldenes Verdienstzeichen des Landes Wien (Golden Merit of Vienna)
It was a tough decision to select examples of EDWARD BURTYNSKY`s brilliant series of landscape and industrial photography.
Well, I would like to introduce the ANTHROPOCENE PROJECT that includes a collection of remarkable photographic insights to you…
“[We] come from nature.…There is an importance to [having] a certain reverence for what nature is because we are connected to it… If we destroy nature, we destroy ourselves.” – Edward Burtynsky
THE AESTHETIC OF DESTRUCTION
To talk about “Terraforming” of the Earth by mining, urbanization, indus-trialization, industrialized agriculture, deforestation, etc. that is resulting in a reduction of biodiversity, climate changes, equalized biogeographies etc. is a minimization in my view. Let`s face the truth…it is bare destruction.
EDWARD BURTYNSKY is able to capture moments of heart-breaking beauty even within all this destruction. Sometimes it takes a second till you realize the entire scenario. I think, this smart twist contributes to the feeling of disturbance, his work is leaving.
FINE ARTS TO MAKE THE UNSEEN VISIBLE AND TO RISE AWARENESS
Watching his outstanding landscape photography involuntary leaves you with the impression that our planet is eaten alive — by us.
Deadly injured, covered with open wounds and scars, the Earth still provides us with all resopurces we need to further expand, dominate the creation and grow our population without any rhyme or reason.
Desparation, feeling helpless, and guilty… Let`s begin with changing ourself. I am sure that each one of us knows best where and how he is able to reduce his personal ecological footprint….Right?
BY THE WAY, WHAT IS THE “ANTHROPOCENE”?
Admittedly, I had to look it up….
The Anthropocene is a proposed epoch dating from the commencement of significant human impact on the Earth’s geology and ecosystems, including, but not limited to, anthropogenic climate change. Various different start dates for the Anthropocene have been proposed, ranging from the beginning of the Agricultural Revolution 12,000–15,000 years ago, to as recent as the Trinity test in 1945. The most recent period of the Anthropocene has been referred to by several authors as the Great Acceleration during which the socioeconomic and earth system trends are increasing dramatically, especially after the Second World War. (wikipedia)
ABOUT THE ANTHROPOCENE PROJECT
Another collaboration from Nicholas de Pencier, Edward Burtynsky, and Jennifer Baichwal, The Anthropocene Project is a multimedia exploration of the complex and indelible human signature on the Earth.
Originally conceived as a photographic essay and the third in a trilogy of films including Manufactured Landscapes (2006) and Watermark (2013), the project quickly evolved to include film installations, large-scale Burtynsky High-Resolution Murals enhanced by film extensions, 360° VR short films, and augmented reality installations.
Embracing and developing innovative techniques, the trio embarked on an epic journey around the world (to every continent save Antarctica) to capture the most spectacular evidence of human influence, while taking time to reflect on the deeper meaning of what these profound transformations signify. The result is a collection of experiences that will immerse viewers in the new world of the Anthropocene epoch, delivering a sense of scale, gravity, and impact that both encompasses and moves beyond the scope of conventional screens and prints.
The project includes:
a major travelling museum exhibition at the Art Gallery of Ontario and National Gallery of Canada before it will travel to Manifattura di Arti, Sperimentazione e Tecnologia (MAST) in Bologna in Spring 2019;
a new release of Edward Burtynsky photographs;
a feature documentary film;
immersive interactive experiences in augmented and virtual reality;
IN THE NEWS (09th Jan. 2019): ANTHROPOCENE won $100K Rogers Best Canadian Film Award – Congratulations!
ABOUT EDWARD BURTYNSKY
Edward Burtynsky (born February 22, 1955) is Canadian photographer and artist known for his large format photographs of industrial landscapes. His work is housed in more than 60 museums including the Guggenheim Museum, the National Gallery of Canada, the Reina Sofia Museum in Madrid, the Tate Modern in London, the Bibliothèque Nationale, Paris and others.
Burtynsky received his BAA in Photography/ Media Studies from Ryerson University in 1982, and in 1985 founded Toronto Image Works, a darkroom rental facility, custom photo laboratory, digital imaging and new media computer-training centre catering to all levels of Toronto’s art community.
Early exposure to the sites and images of the General Motors plant (the workplace of his father) in his hometown helped to formulate the development of his photographic work. His imagery explores the collective impact we as a species are having on the surface of the planet; an inspection of the human systems we’ve imposed onto natural landscapes.
Edward Burtynsky won several well-known prices & awards (e.g. Officer of The Order of Canada in 2006) and received several honorary doctorates.
Furthermore, he is an active lecturer on photographic art, who is welcome in various notable galleries, universities and libraries.
His images appear in numerous periodicals each year including Canadian Art, Art in America, The Smithsonian Magazine, Harper’s Magazine, Flash Art, Blind Spot, Art Forum, Saturday Night, National Geographic and the New York Times.
For further details, please feel free to visit his website that contains more galleries of awesome photos, an overview of his publications and EDWARD BURTYNSKY`s event calendar:
Last Saturday, I set up what you might call “The Smallest Book Promotion Booth In The World” at out church’s annual Flower Festival. (All royalties from the book until December 31st of this year will go to support the mission of St. John’s Church.) The little wooden stepladder was the one my chickens used when […]
Sui Park is a New York based artist born in Seoul, Korea. Her work involves creating 3-dimensional flexible organic forms of a comfortable ambiance that are yet dynamic and possibly mystical or illusionary.
She is currently holding a solo exhibition, Floating Imagery at the Pelham Art Center, Pelham, New York. She also had a solo exhibition, Playing with Perception at the Denise Bibro Fine Gallery in Chelsea, New York, Garden of Humans at the Kingsborough Community College, CUNY in Brooklyn, NY in 2016. She participated in over 80 exhibitions, including an ongoing exhibition, The 5th Textile Art of Today at Danubiana Meulensteen Art Museum in Bratislava, Slovak republic where she received the Excellent Award in September 2018. Park’s artwork has been acquired by numerous places including Jordan Schnitzer Museum of Art in United States.
Sui Park’s education includes MDes in Interior Architecture at Rhode Island School of Design in 2013 and BFA in Environmental Design at Maryland Institute College of Art in 2011. Sui Park also has MFA and BFA in Fiber Arts at Ewha Womans University, Seoul, Korea.
THE ARTISTS STATEMENT
“My work involves creating 3-dimensional organic forms mostly in generic and biomorphic shapes. Through these forms, I attempt to express seemingly static yet dynamic characteristics of our evolving lives. While they resemble transitions, and transformations of nature, the forms are also to capture subtle but continuous changes in our emotions, sentiments, memories and expectations.
I weave and connect traces and tracks of the subtle changes into organic forms. The organic forms are made with mass-produced industrial materials, in particular, Monofilament and Cable Ties. They are non –durable, disposable, trivial, inexpensive and easily consumed materials. But, when I weave and connect them, they are transformed into organic visualizations. I want them to be creating lasting moments, evoking and encapsulating our precious thoughts.
I often find these moments from nature. I think nature allows us to pause and find things that have been overlooked and are inspiring. Nature provides me with rooms to find breakthroughs and answers, and gives me time to ponder into thoughts. Through my work, I want to bring to our attention the moments that nature allows us to find and look back. I present nature in abstract porous ways so that they can be filled with our moments.” (cit. Sui Park)
For more details and further impressions of her arts, please have look at her website: http://www.suipark.com …if you share my enthusiasm.
Sui Park is also represented on Instagram and Pinterest with her organic installation arts.
I was fascinated from HENRI PRESTES`impressive but also expressive cinematic photography from the very first second, I came across it incidentally.
His photos don`t convey only atmosphere, but invite the viewer to create an entire narrative using his individual imagination. Maybe, this effect is exactly the reason why Henri` s photography is so alarming. It is your very own phantasy based on your personal emotions, assumptions and experiences that will finally create the story, you will see in these mystical scenes.
CAPTURING THE TURNING POINT OF FATE
What did happen and what will happen any moment? This uncertainty and the imposed role as a witness – without having any option to intervene – is disturbing in my view. In his photography, Henri seem to capture the turning point of somebodies fate. The motifs are perfect cliffhangers in my opinion.
Being especially vulnerable, women are supposingly able to dive even deeper into Henri`s haunting scenarios due to their sensitive instincts for dangerous situations.
I guess, all ladies know the feeling “it`s not okay – not really” and the inner alert when e.g. entering an empty parking house with flickering neo lights during night… Well, I think, we should embrace our fears. In any case, they are a helpful early warning system.
ONLY ONE IMAGE TELLS AN ENTIRE THRILLER
However, please enjoy the selection of Henri`s (sur)realistic thrillers below…
ABOUT HENRI PRESTES
Henri Prestes is a photographer and cinematographer from Portugal. His portfolio is full of stunning cinematic pictures are taken in the small, isolated villages in Portugal. Henri takes pictures when the weather is suitable for the kind of mood or atmosphere, usually at night or early morning. His work aims to capture “the melancholy mood of dark eeriness that is often present in isolated places”. Prestes has spent many long nights over the last 2 years creating the work near isolated villages in the most secluded parts of his home country that are often surrounded by dense fog and heavy rain. He only produces the work when the conditions are right as “even the most boring place can look haunting and mysterious with the right weather and light”.
“I seek to create these cinematic moments that are mostly grounded in reality except some detail that doesn’t look quite right, like when you’re having a bad dream, and that hopefully makes the viewer uncomfortable and feeling like something is about to happen.”
Born in Braşov, he attended the Arts and Music high school in Timişoara from 1959 to 1963, having Julius Podlipny as a teacher. He then graduated in 1970 from the Nicolae Grigorescu Institute of Fine Arts in Bucharest, having Corneliu Baba as a teacher.
Since the 1970s, Câlţia has held exhibitions in Norway, Switzerland, the Netherlands, Denmark, and Romania.
In 1993 he became professor at the National University of Fine Arts in Bucharest, and in 2004 he became its chancellor.
His works have been acquired by many important museums and art galleries around the world, such as the Norwegian Museum of Contemporary Art in Oslo, Norway, and the Museum of Fantastic Arts in Gruyère, Switzerland.
Graffiti has been known in Italy since the ancient Romans, who decorated the walls of Pompeii and the catacomb with declarations of love, curses and magic spells. In fact the word ‘Graffiti’ derives from the Italian word ‘graffiare’ meaning to scratch something into a surface, and people in Italy still write their passions on the walls.
Though lately – it seems to me – subject matters have changed from ‘Ti amo’ and ‘Forza La Juve’ to political statements. Could be, that graffiti in Italy has gone from personal to political in order to reflect the current economic crisis and migrants crisis.