Author CT

Art quote:: Dali on melodious farts

“Because of a very long fart, really a very long and, let us be frank, melodious fart, that I produced when I woke up, I was reminded of Michel de Montaigne. This author reports that Saint Augustine was a famous farter who succeeded in playing entire scores.”

Excerpt from Diary of a Genius

Silver print ’79 Printed ’82 From Ordinary-Light (£400) 11.75 x11″ Ref: 0111

Brutality at the photographer’s analogue paradise

There is a photographer’s paradise called Double Negative Darkroom in Hackney, 178A Glyn Road E50JE. Sebastian Sussmann, photographer and photographic printer dedicated to analogue processes, started Double Negative Darkroom in the summer of 2009. The old school haven equipped with authentic necessities, including an original camera obscura and technical knowledge from past times, is steadily developing with the help of a few passionate individuals. CT was invited to “DND” by  American photographer and collector Brad Feurhelm during the documentation of his collection on Brutality. 

Being the former director of Daniel Blau Gallery in Hoxton square, Brad Feuerhelm, is now devoting his time to the international photographic company Ordinary-Light, with a main focus on presenting the history of the photographic medium and on the collection of the same, although there is also an interest in contemporary photography. The name Ordinary-Light is deceiving, since Brad Feuerhelm is a big fan of all things obscure, such as vintage astrological imagery, Czech surrealist work (Waclav Chochola), experimental collages (and an abstract gelatin silver print) by Edmund Teske, smoking children soldiers with a Kalashnikov, microphotographs of vegetable cells, atomic explosions, China in the 1860s, etc. The vast collection of thousands of images are presented in thematic shows and at a number of art fairs.

Below: CT’s documentation of the collector documenting the documentation…

The commercial catalogue on Brutality does not only consist of historical evidences of brutal incidents, but challenges the interpretation of brutality with the inclusion of images such as ordinary portraits of murder victims and ladies reading the newspaper on the day of Kennedy’s assassination next to a newspaper stand. In this way, the collection invites the viewers to take a step out of the savagery and consider the consequences of brutal actions and to contemplate the fragility of human existence.

On 8/9 of September Double Negative Darkroom is hosting a wet collodion course with Manchester-based John Brewer, who is specialized in historic photographic processes, particularly wetplate collodion, cyanotype, platinum/palladium and gum bichromate. There are at present six places available. John Brewer’s on the wet collodion course: “Images can be made on clear glass, coloured glass, metal and acrylic. Because of the nature of the process each image is unique and non reproducible, it is a one of a kind. The process from clear glass to the finished image, sealed with a nineteenth century lavender varnish takes around twenty minutes or less. Plate sizes can be from 5″x4″ up to 12″x15″. I can also offer a framing service.”

Below: From John Brewer’s personal portfolio

Double Negative Darkroom are entirely committed to B&W processing – all formats, Colour – bleach, bypass and Xpro – all formats, Fine Art B&W Handprinting, Liquid Emulsion and Lith Printing, Alternative Processes – Salt, gum, Cyanotype, Albumen, VDB, Enlarged negatives for all alternative process and contact printing, Portrait and photographic services, Traditional darkroom and alternative process courses/workshops, Photo Studio hire – specialist analogue space, Large format camera hire, On-site processing and proofing for studio clients.

Sebastian Sussmann explains the aim of DND, in his own words: “One of the purposes of the studio and the gallery is to help drive and energise the burgeoning analogue photo community we started building when Double Negative moved from the Wick to Homerton. Currently there are over 30 darkroom members, a mix of artists, amateurs and professionals. I’d like the space to be just as much somewhere where people can do studio shoots (on film) as it is a place for learning, experimenting, exhibiting and meeting like-minded people. “

Art quote:: Pixies on education

“oh kiss the world oh kiss the sky
oh kiss my ass oh let it rock
of the april birds and the may bee
oh baby

it’s educational
it’s educational
it’s educational
it’s educational
it’s educational.”

Excerpt from Pixies – U-mass

Photo:: Courtesy of William Morris Agency

CTColumn:: Echo From The Art Jungle

“Where does she get it from?” the private view art mingling Londoners mumble over the free drinks each First Thursday, First Wednesday, First Tuesday and on the odd nights when the brave and special galleries choose to have their openings. I remember coming to London and being incredibly art thirsty; drooling over brush strokes, contrasting oil textures and ten thousand other versions of creative expression. It didn’t take me long to wonder what the rest of the crowd was doing there. Where they really only there for the free drinks? During the exhibition of the wandering artist, whose name I cannot remember, in a Mayfair gallery a couple of years ago, a Ugandan Indian, whose name I shall keep anonymous, came up to me with slightly sleepy wine-eyes and declared that he was indeed an art lover. We had a chat and as a result, I ended up on a mailinglist which supplied all previously wealthy (at least in their dream world) West-End folks with a weekly e-mail report of where to go for the free drinks. Yes, I did give him my business card and hoped that he would buy one of my paintings, because my older and more experienced friends told me to network, and the man did have a nice suit and Regent Street was gleaming as prosperous as ever before.

“Where does she get it from?” used to sound like a peculiar question with no substance, until I realized that many people have no conception of creativity and what it feels like to be grabbed by that invisible powerful force that makes you walk your garbage to the tube, put on skirts inside out and eat breakfast for lunch and dinner. Observe, sketch, research, paint, and paint, and paint, and then document, throw it all online on a webpage, contact galleries and go networking. Oh, we all know the drill and it can make a wreck out of any passionate artist burning with the will to break through. How many artists come to London for a couple of years and then give up? It can be chocking to realize how many amazing artists there are out there in the complex business jungle that is built around and feeding off creative expression, and in addition, the numbers of foreign painters represented by London galleries (not including the internationally recognized) are not many.

Source: en.wikipedia.org/wiki/File:Newtons_cradle_animation_book_2.gif

I started writing about artists because I found that the focus on art was consistently and close to entirely on the economic value and the trade of the same; the artist’s journey is absent. We must remember that we are not producing commercial objects. The story is infinitely more beautiful, and/or painful, and definitely more complex. Let’s rise above the competition mentality and focus on the real work.

Elinrós Henriksdotter, Founder and Chief Editor

Art quote:: The morning after a sleepwalking art session

How do you feel when you wake up?

I wake up; open my eyes and I just know that I have done something. My thought process changes a bit and I feel a migraine coming on. I know that I have done something, but not what I have done. Then I have a migraine for 5-6 hours, because of the exhaustion.

Excerpt from interview with the “Sleep artist” Lee Hadwin

Lee Hadwin – An artist who never cared for art


Art quote:: To all women writers from Virginia Woolf

“By hook or by crook, I hope that you will posses yourself of money enough to travel and to idle, to contemplate the future or the past of the world, to dream over books and loiter at street corners and let the line of thought dip deep into the stream.”

Virginia Woolf, 1928, excerpt from A Room of One’s Own

Available at Project Gutenberg on http://gutenberg.net.au/ebooks02/0200791.txt

 

Unknown 7






Connoisseurship 2


 




Probably 11

Evening 5