Mister Christopher was exploring the dark corners of his closet and found loads of b+w darkroom paper that he doesn't want.
Does anybody want any?
mostly 11x14 and smaller. Some Ilford, some Bergger, some forte. Mostly fiber, some RC. It is probably fine but is old and might be fogged. Some of it is graded, some VC. Also a unopened pack of Seal ColorMount Dry mounting paper 8x10 25 pack.
Also a 20 pack of Epson 11x14 Premium Glossy Photo Paper that's unopened and not very old. Also some sheets of epson enhanced matte paper, 11.7x16.5 inches.
hi to everyone-
Saturday, September 13, 2008
Darkroom paper givaway
Friday, September 12, 2008
Untitled Project Amy/Mark
Untitled Project Amy/Mark
We focus on objects that incorporate a certain symbolic value for the city they come from (in this specific case sydney).
The range we capture in terms of objects spans the range from our very personal experience of the city to more unpersonal souvernir objects. The photographs of this reminiscence, almost productshot-like depict receipts, bus tickets as well as salt and sugar from cafes we visited. Furthermore we collected organic and non organic material from both nature and architecture in sydney (such a dustlike piece from the harbour bridge or leafs).
To be continued...
exquisite groups
Caitlin Biskup | Jessie English | Christopher Nesbit
Our work is about identifying codes of conduct and then confrontationally recontextualizing them. Influenced by artists such as Bruce Naumman, Sophie Calle, and John Baldessari we contemporise their aesthetics to examine the sociological and psychological effects of living in a crowded city. The nature of relationships both personal and professional is examined with a mischievousness and dry humour. Ideas from all three members of the group are distilled into performances, short films, sound, and images.
Ashley Collis | Mark Fernandes
This collaboration deals with the often cyclic way we move within the city on a daily basis. Our work is deeply influenced by each other´s urban and natural environments, which translate to parallel outcomes. Drastically different approaches to a common idea resulted in collaborative efforts such as the ‘Door’ project which examines the access or the lack of access within the city, which can be provided or prohibited by visible or invisible doors. Our specific points of view, New York and Sydney, have allowed us to create works which transcend the immediate connection to our environments and have resulted in pieces which can be read more universally.
Carly Bertuccio | Jacquelyn Drayton
Through the comparative study of both cities, our work resonates with the act of offloading a part of oneself; both directly onto one another as well as left behind for others. We deal with the opposing contrast of the feelings we experienced in each city within our aesthetic production. Our confessions of New York are represented intimately amongst the isolation and hostility of the city, while those of Sydney are expressed as a struggle and almost violent act against the beautifully surreal backdrop of the city landscape. Work made from our time spent at opposite ends of the world reflects our desire to interact with one another. Playing a game of catch across the world came from these desires. The performance/ photographic outcome of this encompasses both a comparative study of each city, and the time and distance that the works have been built across.
Eva Marosy-Weide | Meghan McInnis | Amy Theiss Giese
Shifting between spaces. New York. Frenetic, driven, chaotic. How do you show the sound of water?
How do you make a city breathe? Separation. A return to daily life, a realignment of priorities, even momentarily. Response. Every day give away a part of your life to one of the others. Sydney. Two invading the space of one. What begins to give? How do you relate to something that is so familiar yet not at all known? Respond to the very thing that confounds you?
Thursday, September 11, 2008
Wednesday, September 10, 2008
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